Full text of "Teaching Learning Strategies For The Thinking Classroom"

See other formats

F. Scott Fitzgerald

[A Siierary [Reference to
JHfis Sife ancf WorA

MARY JO TATE

FOREWORD BY MATTHEW |. BRUCCOLI. EDITORIAL CONSULTANT

CRITICAL COMPANION TO

F. Scott Fitzgerald

CRITICAL COMPANION TO

F. Scott Fitzgerald

A Literary Reference to His Life and Work

MARY JO TATE

Foreword by Matthew J. Bruccoli

0 Facts On File

An imprint of Infobase Publishing

Critical Companion to F. Scott Fitzgerald:

A Literary Reference to His Life and Work

All rights reserved. No part of this book may be reproduced or utilized in
any form or by any means, electronic or mechanical, including photocopying,
recording, or by any information storage or retrieval systems, without permis¬
sion in writing from the publisher. For information contact:

Facts On File, Inc.

An imprint of Infobase Publishing
132 West 31st Street
New York NY 10001

ISBN-10: 0-8160-6433-4
ISBN-13: 978-0-8160-6433-5

Library of Congress Cataloging-in-Publication Data

Tate, Mary Jo.

Critical companion to F. Scott Fitzgerald : a literary reference to his life
and work / Mary Jo Tate ; foreword by Matthew J. Bruccoli.
p. cm.

Includes bibliographical references and index.

ISBN 0-8160-6433-4 (acid-free paper)

1. Fitzgerald, F. Scott (Francis Scott), 1896-1940—Encyclopedias.

2. Authors, American—20th century—Biography—Encyclopedias.

I. Tate, Mary Jo. F. Scott Fitzgerald A to Z. II. Title.
PS3511.I9Z459 2006
813’.52—dc22 2006011393

Facts On File books are available at special discounts when purchased in bulk
quantities for businesses, associations, institutions, or sales promotions.
Please call our Special Sales Department in New York at (212) 967-8800 or
(800) 322-8755.

You can find Facts On File on the World Wide Web at http://www.factsonfile.com
Cover design by Cathy Rincon/Anastasia Pie
Printed in the United States of America
VB Hermitage 10 987654321
This book is printed on acid-free paper.

For Forrest, Andrew, Perry, and Thomas

Contents

Foreword ix

Acknowledgments xiii

Introduction xv

Part I: Biography 1

Part II: Works A-Z 11

Part III: Related People, Places, and Topics 257

Part IV: Appendices 397

Chronology 399

F. Scott Fitzgerald’s Works 405

Zelda Fitzgerald’s Works 422

Works about Fitzgerald 424

Adaptations of Fitzgerald’s Works 440

441

Index

Foreword

I wish that I had written this volume, but I could
not have done it better than Mary Jo Tate. It is
the essential reference tool for all categories of F.
Scott Fitzgerald readers: for the celebrated com¬
mon reader, students, and teachers. Moreover, it is
a readable reference book. Serious Fitzgerald read¬
ers will make their own connections by going from
entry to entry. Critical Companion to F. Scott Fitzger -
aid replaces shelves of books.

This book also provides a reassuring reminder
of the staying power of great writing. At the time
of Fitzgerald’s death in 1940, the anticipation of
anything like Critical Companion to F. Scott Fitzger -
aid would have seemed a fantasy. The newspaper
obituaries were mainly condescending. Tributes by
his friends and fellow writers expressed regret that
Fitzgerald had been prevented from fulfilling his
genius: from writing as much or as well as he could
have—should have—written. But no one publicly
predicted a Fitzgerald revival, except Stephen Vin¬
cent Benet in his review of T he Last Tycoon: “This is
not a legend, this is a reputation—and seen in per¬
spective, it may well be one of the most secure rep¬
utations of our time.” This prediction was regarded
as hyperbolic in 1941, and Benet was given credit
for generosity toward an unfortunate writer.

In 1945 the Fitzgerald revival was under way;
in the fifties it resembled a resurrection; and in
the sixties Fitzgerald achieved his stated ambition
to “be one of the greatest writers who ever lived.”
Unlike many literary revivals, the posthumous
Fitzgerald comeback that raised him to a stature
he had not achieved during his writing life was not

rigged by critics and professors. Fitzgerald’s restora¬
tion was mainly reader-generated. The readers who
read for pleasure were ahead of the professional
reputation-makers. Nor is it the case that Charles
Scribner’s Sons stimulated the revival in order to
sell books. Scribners reprinted Fitzgerald in cloth to
meet the demand, but the firm had no paperback
line and did not make The Great Gatsby available
in a student edition until 1957. But Scribners did
own a piece of Bantam, which reprinted The Great
Gatsby in 1945. People read Fitzgerald because the
people they knew were reading Fitzgerald. People
kept reading Fitzgerald because they were excited
by what they read. Some new readers who dis¬
covered Fitzgerald after World War II were writers
or apprentice writers who have acknowledged the
impact of their first encounters with his prose.

A concomitant of the rediscovery of Fitzgerald’s
writings was the growth of interest in the author.
He became an American literary culture hero. The
attention to Fitzgerald’s life is inevitable. Admira¬
tion of a masterpiece triggers curiosity about the
masterpiece-maker—especially when the authors
had a romantic or dramatic life embracing tri¬
umph and disaster. A reader who knows nothing
about Fitzgerald can achieve a rewarding reading
of Gatsby or Tender Is the Night, but knowledge of
the connections between his life and work enriches
the reader’s understanding of Fitzgerald’s trans¬
muted autobiography. Unhappily, literary history
tends to degenerate into literary gossip, and biog¬
raphy becomes slander. The belittling anecdotes
about Fitzgerald—founded or unfounded—have

x Critical Companion to F. Scott Fitzgerald

interfered with the proper assessment of his work.
Nothing else about a writer matters as much as his
words.

By the end of 2005, there were more than 100
books about Fitzgerald, including collections of
articles. Only fully committed specialists are famil¬
iar with most of these volumes, and only the largest
research libraries hold all of them. Serious readers
outside of the academic groves require a Fitzger¬
ald vade mecum to provide the facts and details.
Indeed Critical Companion to F. Scott Fitzgerald qual¬
ifies as a trade reference book: a work that serious
Fitzgerald readers will read—not just refer to—as
preparation for a lifetime relationship.

This is the way to establish that commitment:
Read everything he wrote. Everything means every¬
thing. Some of it is uneven; but it is all Fitzgerald,
and it all connects. Then reread his best works—if
necessary with the help of other books to under¬
stand the data that Fitzgerald built into his fiction.
All great fiction is great social history. Someday
there will be proper annotated editions of Fitzger¬
ald’s writings. During his lifetime, Fitzgerald’s books
were published in flawed texts. The serious reader
will obtain the corrected or critical editions to read
what Fitzgerald expected to have published. (See
the entry here for editing Fitzgerald’s texts.)

Everything Fitzgerald wrote was personal
because, as he stated, he took things hard. Fitzger¬
ald’s letters constitute a superbly readable intro¬
duction to his character, mind, and art. The most
useful reference material for Fitzgerald was assem¬
bled and miraculously preserved by him. Much
of the data in this reference work draws on his
activities as a self-historiographer. There is nothing
like his Ledger (published in facsimile, 1973) for
any other American author. Combining autobiog¬
raphy, bibliography, and accounting, it establishes
the record of his career as a literary artist and a
professional writer. Fitzgerald’s Notebooks —first
excerpted in T he Crack-Up (1945) and then pub¬
lished in full (1978)—document his working habits
and the quality of his literary intelligence.

One area of Fitzgerald’s career that has received
exaggerated attention is his Hollywood work, a
stint of three and one-half years. For a long time,
the distorted impression prevailed of Fitzgerald as

ruined victim of Hollywood. Many critics approach
Hollywood with the presuppositional bias that it
was the graveyard of American literary talent. The
writers who were destroyed by Hollywood embraced
destruction along with their paychecks. Metro-
Goldwyn-Mayer was very good to Fitzgerald during
his 18 months on the payroll. Moreover, he was
an undistinguished screenwriter; his unproduced
screenplay for “Babylon Revisited,” the only one of
his works that he adapted, is disappointing. Fitzger¬
ald was a storyteller whose style, voice, and narra¬
tive technique were developed for print; these did
not translate to the silver screen—which is why all
the movies made from his books have been unsatis¬
factory. The morbid interest in Fitzgerald’s work for
the studios has resulted in the overrating of the Pat
Hobby stories. Ultimately, the chief importance of
the Hollywood years is that they provided material
for The Love of the Last Tycoon: A Western, the great
American Hollywood novel.

While his Hollywood exile was being overex¬
posed, Fitzgerald’s short stories were neglected or
disparaged until the seventies. During the fifties and
sixties, the notion persisted that, apart from a few
brilliant stories and novellas, most of the 160 maga¬
zine contributions were hackwork and that it was a
kindness to ignore them. Consequently, his “com¬
mercial” stories were denied a proper appraisal or
reappraisal because they were not readily available.
Malcolm Cowley’s excellent one-volume story selec¬
tion, the only omnibus available from 1951 to 1989,
included only 28 stories. The publication of After¬
noon of an Author (1957), Bits of Paradise (1973), and
The Price Was High (1979) facilitated a reassessment
of the buried stories and an understanding of the
creative relationship between Fitzgerald’s magazine
work and his novels. The profession-of-authorship
approach to literary history provides a corrective
to noncombatant misapprehensions about Fitzger¬
ald’s alleged hackery. Professional writers write for
money. Money makes it possible for them to keep
writing. Even if they do not need the money because
of other incomes, the money earned from writing is
a way of keeping score. The critics and scholars who
denounced Fitzgerald’s Saturday Evening Post bond¬
age never had to live from story to story. Even his
less-than-brilliant stories bear his brand.

Foreword xi

Detractors who dismissed Fitzgerald and his char-
acters for their materialism and triviality were unable
to comprehend that serious writers write about the
things they want to write about and have to write
about. If the writer is good enough, then the “forlorn
Laplander” is made to “feel the importance of a visit
to Cartier’s!” Literature—fiction—is not required to
teach readers how to solve their own problems or
world problems. Nor is it mandatory that it express
noble sentiments or denounce injustice. It is enough
that literature provide pleasure—the pleasure of the
words and the pleasure of recognizing that the writer
got it right. Like all great writers, Fitzgerald wrote
like nobody else. He answered the profundity seekers
and the burden-of-guilt types for keeps in his 1934
introduction to Gatsby:

Reading it over one can see how it could have
been improved—yet without feeling guilty of
any discrepancy from the truth, as far as I saw
it; truth or rather the equivalent of the truth, the
attempt at honesty of imagination. I had just re¬
read Conrad’s preface to The Nigger, and I had
recently been kidded half haywire by critics who
felt that my material was such as to preclude all
dealing with mature persons in a mature world.
But, my God! it was my material, and it was all
I had to deal with.

Since this foreword has become a personal state¬
ment, I will use it to acknowledge the benefactions
of Fitzgerald’s daughter, Scottie, who kept his papers
together and gave them to Princeton University. She
was endlessly generous to students, scholars, and
buffs. I was the chief beneficiary of her bounty dur¬
ing the 16 years we worked on “Daddy projects.”

A NOTE ON THE NEW EDITION

In the years since this volume was first published
as F. Scott Fitzgerald A to Z, Fitzgerald’s reputa¬
tion and literary standing—not the same thing—
have climbed from an already high position. His
work has demonstrated its permanence. The Great
Gatsby remains the most widely taught 20th-cen¬
tury American novel, albeit in unreliable texts.
Tender Is the Night is belatedly claiming its proper
position as Fitzgerald’s greatest novel.

Fitzgerald scholarship and criticism flourish:
At least 50 books about him, his work, his times,
and his literary “gonnegtions” have been published
since 1996. This work is uneven because F. Scott
Fitzgerald and, to a greater extent, Zelda Fitzgerald
are cult figures or glamour figures attracting group¬
ies who relish gossip, distortions, and exaggerations.
The quasi-biographical volumes on Zelda Sayre
Fitzgerald are irresponsible in their efforts to cele¬
brate her by blackening her husband. Great writers
perform the world’s most precious work and should
be accordingly honored. But a writer’s work mat¬
ters more than his life. The words are what count.

The past decade has been a period of critical
promiscuity, during which critics proclaimed the
necessity to indulge in the “free play” of their
insights—whether or not supported by textual evi¬
dence. Dr. Johnson identified such conduct as “the
ambition of critical discovery.” Alvin Kernan has
observed that “Hermeneutics, a general theory of
interpretation that posits that meaning is never in
the text but always in the theory of interpretation
applied to it, has supplied a general theory for the
replacement of the author and the text with the
biases of the critic reader.”

Mary Jo Tate has restructured, revised, and
enlarged F. Scott Fitzgerald A to Z (1998) into an
independent volume. She has added sensible and
usable critical commentary for all the novels and 19
stories; she has augmented the biographical entry
on Fitzgerald; and she has updated the primary and
secondary bibliographies—incorporating nearly an
additional decade of scholarship. This new work
serves good readers—on and off campus, in and out
of libraries—who require reliable information and
trustworthy guidance to enhance the pleasure and
excitement of F. Scott Fitzgerald’s words.

The writer who was treated as a failure has a
safe and secure place in literature—not just Ameri¬
can literature. He is now recognized as what he
wanted to be all along: “one of the greatest writers
who ever lived.” If this were my book to dedicate,
I would dedicate it to the girl sitting next to me
on the bus from Juan-les-Pins to Cannes reading a
paperback of Un diamant gros comme le Ritz-

—Matthew J. Bruccoli

Acknowledgments

M y principal debt is to Matthew J. Bruccoli,
who helped plan this volume, vetted the
typescript, and aided me throughout the process
of writing and revision; he also contributed several
entries. Judith S. Baughman read the typescript,
responded to endless queries, and provided cru¬
cial assistance throughout the project. Dr. Bruc-
coli and Mrs. Baughman also supplied illustrations
and captions.

Thanks are due to the following people who con¬
tributed entries to this volume: George E Ander¬
son, Tracy Simmons Bitonti, Park Bucker, Marvin
J. LaHood, Roger Lathbury, Catherine Lewis, Alan
Margolies, and Don C. Skemer. In addition to
signed entries, Park Bucker provided all unsigned
brief entries about illustrators.

I am also indebted to Robert W Trogdon, Robert
Moss, Ian Olney, and Park Bucker of the University
of South Carolina for research assistance; Nancy
Anderson (Auburn University at Montgomery);
Joseph M. Bruccoli (photography; Columbia, S.C.);
John Delaney (Princeton University Library); Harry
M. Drake (volunteer archivist for St. Paul Acad¬

emy and Summit School); Scott Marsh (Archival
Assistant of the Alan Mason Chesney Medical
Archives of the Johns Hopkins Medical Institu¬
tions) ; Michelle Martin (Assistant to the City Man¬
ager, Rockville, Md.); Patrick D. McQuillan (St.
Paul, Minn.); Dana J. Pratt (Publishing Consultant,
Bethesda, Md.); Walt Reed (Illustration House,
Inc., N.Y.); Rick Ryan (Biographical Research
Aide, Alumni Records Office, Princeton University
Library); Paul D. Schulz (Thomas Cooper Library,
University of South Carolina); and Don C. Skemer
(Princeton University Library).

Karen Conwill, Jeannine Gerace, and Kathy
Petersen assisted with the process of transforming
F. Scott Fitzgerald A to Z into Critical Companion
to F. Scott Fitzgerald. Dr. Bruccoli and Mrs. Baugh¬
man offered useful advice and patiently endured an
onslaught of requests for updated information.

I am grateful to my parents, Jim and Rosemary
Alinder, for their support in ways too numerous
to mention. My children—Forrest, Andrew, Perry,
and Thomas—provided comic relief and ran the
household while I was writing.

xiii

Introduction

C ritical Companion to F. Scott Fitzgerald is
designed to provide an introduction to F. Scott
Fitzgerald’s work, life, and times for students and
general readers, as well as a reliable ready reference
for Fitzgerald scholars.

This volume is a revision and an expansion of
F. Scott Fitzgerald A to Z (1998). The most signifi¬
cant improvement is the addition of critical com¬
mentary and further reading lists on all five novels
and 19 of Fitzgerald’s most important and most
familiar stories. In addition, the biographical entry
on Fitzgerald has more than doubled in length; the
bibliography has been updated to include works
published through 2006; and many entries have
been revised and updated to take into account the
latest scholarship.

Furthermore, this edition has been completely
reorganized in a more student-friendly manner. Fic¬
tional characters and places are now grouped with
the works in which they appear rather than being
scattered alphabetically throughout the volume.
The structure of the book is as follows:

Part I provides a biography of F. Scott Fitzgerald.
Part II provides entries, in alphabetical order, on
Fitzgerald’s works, including all his novels, stories,
plays, essays, and book reviews, as well as signifi¬
cant poems, public letters, and movie projects. (All
of his publications, including items not treated in
separate entries in the main text, are listed in the
bibliography—see below.) There are also entries on
Zelda Fitzgerald’s publications.

Each entry provides publication information
for the item’s first periodical appearance and first
appearance in a Fitzgerald collection, where appli¬

cable. In some cases, additional collections of spe¬
cial significance (e.g., The Basil and Josephine Stories
and The Pat Hobby Stories) are also cited. Dates of
composition (which Fitzgerald recorded in his Led¬
ger) are provided when available. In the case of the
Pat Hobby stories, for which composition dates are
unknown, the dates on which Fitzgerald submitted
the stories to Esquire are substituted. A synopsis of
each work is provided. The entry for each novel
also describes the book’s composition and critical
reception and provides critical commentary about
Fitzgerald’s technique, the work’s significance, and
other noteworthy aspects. Stories, poem, and plays
that were incorporated into novels (particularly This
Side of Paradise) or have other ties to novels are iden¬
tified. Critical commentary is also provided for the
19 most significant and most anthologized stories.

Entries on F. Scott Fitzgerald’s novels, stories,
and plays include subentries on fictional places
and on all the characters in the work, with the
exception of very minor characters (e.g., servants
who merely open doors and answer telephones).
Female characters are listed by their predominant
names (married names for some, maiden names for
others; e.g., Nicole Warren Diver is listed under
“Diver” because she is married for most of the
novel). The index provides cross-references from
alternative names. Real-life sources for characters
are provided when known (e.g., Lois Moran as
the model for Rosemary Hoyt). Zelda Fitzgerald’s
fictional characters are discussed in the entries for
her writings.

Part III includes entries on people, places, orga¬
nizations, publications, and special topics.

xvi Critical Companion to F. Scott Fitzgerald

Entries on people associated with Fitzgerald—
including relatives, friends, associates, writers,
illustrators, and major critics—briefly identify each
person’s significance and discuss his or her relation¬
ship with Fitzgerald; no attempt is made to provide
a comprehensive overview of the individual’s own
career (e.g., the entry on Ernest Hemingway does
not explore Hemingway’s career but focuses on his
friendship with Fitzgerald). Many of these entries
cite biographies or autobiographies for readers who
wish to know more about the subject.

Other entries describe places where Fitzgerald
lived and about which he wrote; organizations in
which he was involved; and publications in which
his writing appeared. In addition, there are essays
on special topics such as the Jazz Age, the revival of
Fitzgerald’s literary reputation, and editing Fitzger¬
ald’s texts.

Part IV includes a chronology, list of Fitzgerald’s
works, list of works about Fitzgerald and his writing,
and list of adaptations of Fitzgerald’s works.

A detailed chronology provides an overview of
Fitzgerald’s life and career. The list of Fitzgerald’s
works provides a complete list of F. Scott Fitzgerald’s
and Zelda Fitzgerald’s writings. The list of works about
Fitzgerald is a selected bibliography of biographical
and critical works—including books, articles, collec¬
tions of essays, journals, television productions, vid¬
eorecordings, and Web sites—published through the
year 2006. In addition, volumes about Fitzgerald’s
contemporaries and the time in which he lived are
included in section titled “Background.” The final
appendix is a list of adaptations of Fitzgerald’s works.

Fitzgerald’s spelling (e.g., facinated, ect., yatch) has
not been silently corrected; it is transcribed as printed
in the sources quoted. Page references are provided
for all quotations of more than a brief phrase. Quota¬
tions from stories are from The Short Stories ofF. Scott
Fitzgerald (edited by Matthew J. Bruccoli) if no other
source is stipulated; stories not included in that vol¬
ume, as well as essays, are quoted from the first collec¬
tion in which they appear. Quotations from This Side
of Paradise and The Beautiful and Damned are from the
first edition of each novel. The Cambridge University
Press editions are cited for The Great Gatsby and The
Love of the Last Tycoon: A Western, and the Centennial
Edition (Everyman) is cited for Tender Is the Night.
When full publication information appears in the

bibliography, only the author, tide, and page number
are provided in the entry. When a book not listed in
the bibliography is quoted in the text, full publication
information is provided in the entry.

This volume includes extensive cross-referenc¬
ing. When a name or term that is the subject of an
entry in Part III is mentioned in another entry, it is
printed in SMALL CAPITALS the first time it appears
in the entry. Titles of Fitzgerald’s works are not
cross-referenced; the reader can assume that every
important work is covered its own entry.

The following abbreviations and short titles are
used:

AOAA
Apprentice
Fiction
As Ever
ASYM
B&J
B&D
Bits

Correspondence

F&P

Afternoon of an Author
The Apprentice Fiction
of F. Scott Fitzgerald
As Ever, Scott Fitz —

All the Sad Young Men
The Basil and Josephine Stories
The Beautiful and Damned
Bits of Paradise

The Correspondence of F. Scott
Fitzgerald
The CrachUp
Flappers and Philosophers

FSF

In His Own Time

Ledger

Letters

Life in Letters

LOLT

Price

St. Paul Plays

Scott/Max

TAR

TJA

TITN

T SOP

F. Scott Fitzgerald
The Great Gatsby
F. Scott Fitzgerald In His
Own Time

F. Scott Fitzgerald’s Ledger
The Letters of F. Scott Fitzgerald
F. Scott Fitzgerald: A Life
in Letters

The Love of the Last Tycoon:

A Western
The Last Tycoon
The Pat Hobby Stories
The Price Was High
F. Scott Fitzgerald’s St. Paul
Plays

Dear Scott / Dear Max
Taps at Reveille
Tales of the Jazz Age
Tender Is the Night
This Side of Paradise
Zelda Fitzgerald

Part I

Biography

Biography 3

Francis Scott Key Fitzgerald

(1896-1940)

The dominant influences on F. Scott Fitzgerald
were aspiration, literature, PRINCETON, Zelda
Sayre Fitzgerald, and alcohol.

Francis Scott Key Fitzgerald was born in St.
PAUL, Minnesota, on September 24, 1896, the
namesake and second cousin three times removed
of the author of the National Anthem. His father,
Edward Fitzgerald, was from Maryland, with an
allegiance to the Old South and its values. Fitzger¬
ald’s mother, Mary (Mollie) McQuillan Fitzger¬
ald, was the daughter of an Irish immigrant who
became wealthy as a wholesale grocer in St. Paul.
Both were Catholics.

Edward Fitzgerald failed as a manufacturer of
wicker furniture in St. Paul, and he became a sales¬
man for Procter & Gamble in upstate New York.
After he was dismissed in 1908, when his son was 12,
the family returned to St. Paul and lived comfortably
on Mollie Fitzgerald’s inheritance. From 1908 to
1911, Fitzgerald attended St. Paul Academy; he
played football and baseball and became a debater
but was a poor student and not very popular. His
first writing to appear in print was “The Mystery of
the Raymond Mortgage,” a detective story published
in the school newspaper when he was 13.

Sometime between 1919 and 1922, Fitzgerald
began to keep a ledger of his publications and earn¬
ings, as well as a monthly chronology of his life
beginning with his birth, with a yearly summary
beginning with September 1910-August 1911. It
is the best source for information on his life, and
his pithy annual comments reveal his own assess¬
ments of his successes and challenges. He summa¬
rized his 14th year as “A year of much activity but
dangerous.”

During 1911-13 he attended the Newman
SCHOOL, a Catholic prep school in New Jersey,
where he did poorly academically but won med¬
als for elocution and track. He contributed three
stories and a poem to the school newspaper, and
he wrote plays for the Elizabethan Dramatic
Club in St. Paul during his summer vacations.
At Newman he met Father SIGOURNEY Fay, who

481 Laurel Avenue, St. Paul, Minnesota, birthplace of F.
Scott Fitzgerald. (Bruccoli Collection of F. Scott Fitzgerald,
University of South Carolina)

encouraged his ambitions for personal distinction
and achievement. Fitzgerald summarized his 15th
year as “A year of real unhappiness excepting the
feverish joys of Xmas.” His 16th year showed some
improvement: “Reward in fall for work of previous
summer. A better year but not happy.”

Fitzgerald entered Princeton University in Sep¬
tember 1913 as a member of the Class of 1917.
He neglected his studies for his literary apprentice¬
ship but educated himself through wide reading.
He wrote the scripts and lyrics for the Triangle
Club musicals and contributed to The PRINCETON
Tiger humor magazine and The Nassau Literary
MAGAZINE. He described his 17th year in his Ledger
as “A year of work and vivid experience.” During
Christmas holidays of his sophomore year, he met
GlNEVRA King, who became his primary love inter¬
est during his college years. He wrote her many
letters instead of studying. His 18th year was “A
year of tremendous rewards that toward the end
overreached itself and ruined me. Ginevra - Tri¬
angle year.”

4 Critical Companion to F. Scott Fitzgerald

Fitzgerald was elected to the COTTAGE CLUB, and
his college friends included Edmund Wilson and
JOHN Peale Bishop. Fitzgerald’s time at Princeton
later supplied him with material for his first novel,
into which he incorporated stories, poems, and a
play from his college publications. He summarized
his 19th year as “A year of terrible disappointments
+ the end of all college dreams. Everything bad in
it was my own fault” and his 20th as “Pregnant year
of endeavor. Outwardly failure, with moments of
anger but the foundation of my literary life.”

On academic probation and unlikely to gradu¬
ate, Fitzgerald joined the ARMY in 1917 and was
commissioned a second lieutenant in the infantry.
Convinced that he would die in the war, he rap¬
idly wrote a novel, “The Romantic Egotist.” On
January 10, 1918, he wrote to Edmund Wilson,
“Really if Scribner takes it I know I’ll wake some
morning and find that the debutantes have made
me famous over night. I really believe that no one
else could have written so searchingly the story
of the youth of our generation” (Life in Letters, p.
17). Charles Scribner’s Sons rejected the novel on
August 19 but praised its originality and asked that
it be resubmitted when revised.

In June 1918 Fitzgerald was assigned to Camp
Sheridan, near Montgomery, Alabama. There
he fell in love with a celebrated belle, 18-year-old
Zelda Sayre [Fitzgerald] , the youngest daughter
of an Alabama Supreme Court judge. Fitzgerald
described his 21st year as “A year of enormous
importance. Work and Zelda. Last year as a Catho¬
lic.” The romance intensified Fitzgerald’s hopes for
the success of his novel, but after revision, Scrib¬
ners rejected it a second time.

The war ended just before he was to be sent
overseas; after his discharge in 1919, he went to
NEW York City to seek his fortune in order to
marry. After unsuccessfully seeking a newspaper
job, he went to work for the Barron Collier agency
writing trolley-car advertising cards. In spring 1919
he wrote 19 stories and received 122 rejections;
he was further discouraged by Zelda’s hesitation
to marry him. “May Day” (J uly 1920) reflects the
despair of this stay in New York, which he recalled
in 1936 as “the four most impressionable months
of my life” (“My Lost City”; The Crack-Up, p. 25).

Unwilling to wait while Fitzgerald succeeded in the
advertising business and unwilling to live on his
small salary, Zelda broke their engagement in June.
Fitzgerald quit his job in July 1919 and returned to
St. Paul to rewrite his novel as T his Side of Paradise;
it was accepted by Scribners editor Maxwell Per¬
kins in September. Fitzgerald identified his 22nd
year as “The most important year of life. Every
emotion and my life work decided. Miserable and
exstatic but a great success.”

In the fall and winter of 1919, Fitzgerald com¬
menced his career as a writer of stories for the mass-
circulation magazines. His first commercial story
sale was a revision of his Nassau Lit story “Babes in
the Woods,” which appeared in the Smart Set in
September. Working through agent Harold Ober,
Fitzgerald interrupted work on his novels to write
moneymaking popular fiction for the rest of his life,
the Saturday Evening Post became Fitzgerald’s
best story market, and he was regarded as a “Post

Fitzgerald in costume for the 1916 Princeton Triangle
Club show, The Evil Eye, on which he collaborated
with Edmund Wilson. (Bruccoli Collection of F. Scott
Fitzgerald, University of South Carolina)

Biography 5

writer.” His early commercial stories about young
love introduced a fresh character: the independent,
determined young American woman who appeared
in “The Offshore Pirate” and “Bernice Bobs Her
Hair.” Fitzgerald’s more ambitious stories, such as
“May Day” and “The Diamond as Big as the Ritz,”
were published in The Smart Set, an influential
magazine with a comparatively small circulation.

This Side of Paradise was published on March
26, 1920. Set mainly at Princeton and described
by its author as “a quest novel,” TSOP traces the
career ambitions and love disappointments of
Amory Blaine, a highly autobiographical character
who shares Fitzgerald’s sense of the possibilities of
life and his aspiration toward the fulfillment of his
unique destiny. TSOP is significant for its serious
treatment of the liberated girl and of college life.
It was also a milestone in American literature for
its attempt to combine the normally incongruous
elements of realism and romanticism. It demon¬
strated one of the trademarks that would charac¬
terize Fitzgerald’s writing—his ability to capture
how things really were without resorting to straight
documentary writing but rather using evocative
details and nuances of style to convey moods.

His first novel made the 24-year-old Fitzgerald
famous almost overnight. His early success became
a formative influence on the rest of his career,
shaping his romantic emphasis on aspiration. In
his 1937 essay “Early Success,” he recalled waking
up “every morning with a world of ineffable top¬
loftiness and promise” (CU, p. 86). On April 3 he
married Zelda in New York, and they embarked on
an extravagant life as young celebrities. Fitzgerald
endeavored to earn a solid literary reputation, but
his playboy image impeded the proper assessment
of his work.

The Fitzgeralds spent a riotous summer in
WESTPORT, Connecticut, where he began to write
his second novel, The Beautiful and Damned. Scrib¬
ners customarily followed a successful novel with
a volume of short stories; Fitzgerald’s first story
collection, Flappers and Philosophers, was pub¬
lished in September 1920 to mixed reviews. H. L.
Mencken was one of the earliest critics to note the
split between Fitzgerald’s roles as entertainer and
serious novelist. Fitzgerald’s Ledger summary for

Zelda and Scottie Fitzgerald, probably at Great Neck,
Long Island, 1922. (Bruccoli Collection of F. Scott
Fitzgerald, University of South Carolina)

his 23rd year reads: “Revelry and Marriage. The
rewards of the year before. The happiest year since
I was 18.”

The Fitzgeralds took an apartment in New York
City in October. When Zelda became pregnant, the
Fitzgeralds took their first trip to Europe in May
through July 1921. They visited England, France,
and Italy, but they were disappointed and bored
without friends there. After visiting Montgomery,
they settled in St. Paul for the birth of their only
child: Frances Scott (Scottie) Fitzgerald was
born on October 26, 1921. Fitzgerald’s 24th year
was characterized by “Work at the beginning but
dangerous at the end. A slow year, dominated by
Zelda + on the whole happy.”

The Beautiful and Damned, a naturalistic chroni¬
cle of the dissipation of Anthony and Gloria Patch,
was serialized in METROPOLITAN MAGAZINE Sep¬
tember 1921-March 1922. Fitzgerald revised it for

6 Critical Companion to F. Scott Fitzgerald

book publication during his time in St. Paul, and
Scribners published the novel on March 4, 1922.
It made the best-seller list in Publishers Weekly for
March, April, and May, but the critical reception
was disappointing, although some critics praised
it as an improvement over This Side of Paradise.
Although The Beautiful and Damned shows struc¬
tural advances from the looseness of his first novel,
Fitzgerald’s ambivalence toward his highly autobio¬
graphical characters—fluctuating from approval to
contempt—creates problems with point of view. It
occupies an interesting position in his career as a
transitional novel that shows him experimenting
with and refining his craft.

Fitzgerald’s second story collection, Tales of
the Jazz Age, was published in September 1922; it
included the masterpieces “May Day” and “The
Diamond as Big as the Ritz.” It sold well and was
widely reviewed but was regarded as merely popular
entertainment. He summarized his 25th year as “A
bad year. No work. Slow deteriorating repression
with outbreak around the corner.”

He expected to become affluent from his play,
The Vegetable; in October 1922 the Fitzgeralds
moved to Great Neck, Long Island, to be near
Broadway. The political satire—subtitled “From
President to Postman”—failed at its tryout in
November 1923, and Fitzgerald wrote his way out
of debt with short stories. Long Island provided
material for his third novel, but the distractions
of Great Neck and New York prevented him from
making progress on writing it. During this time his
drinking increased. Fitzgerald was an alcoholic, but
he wrote sober. Zelda regularly got “tight,” but she
was not an alcoholic. There were frequent domestic
rows, usually triggered by drinking bouts. Fitzgerald
identified the hazards of his 26 th year: “The repres¬
sion breaks out A comfortable but dangerous and
deteriorating year at Great Neck. No ground under
our feet.”

Literary opinion-makers were reluctant to accord
Fitzgerald full marks as a serious craftsman. His
reputation as a drinker fed the myth that he was
an irresponsible writer, yet he was a painstaking
reviser whose fiction went through layers of drafts.
Fitzgerald’s clear, lyrical, colorful, witty style evoked
the emotions associated with time and place. His

prose is recognizable by the warmth of the authorial
voice. When critics objected to Fitzgerald’s concern
with love and success, his response was: “But, my
God! it was my material, and it was all I had to deal
with” (introduction to 1934 Modern Library edition
of The Great Gatsby; In His Own Time, p. 156). The
chief theme of Fitzgerald’s work is aspiration—the
idealism he regarded as defining American charac¬
ter. Another major theme was mutability or loss. As
a social historian Fitzgerald became identified with
“The Jazz Age”: “It was an age of miracles, it was an
age of art, it was an age of excess, and it was an age
of satire” (“Echoes of the Jazz Age”; CU, p. 14).

The Fitzgeralds went to France in the spring of
1924 seeking tranquility for his work. After visit¬
ing Paris and Hyeres, they settled in Valescure
near St. Raphael on the Riviera. Their marriage
was damaged by Zelda’s involvement with French
naval aviator Edouard JOZAN. The extent of
the affair—if it was in fact consummated—is not
known. Fitzgerald’s disillusionment with Zelda and
his lost certainty of her love influenced The Great
Gatsby, which he wrote during the summer and fall.
In August Fitzgerald wrote to Ludlow FOWLER:
“Thats the whole burden of this novel—the loss of
those illusions that give such color to the world so
that you don’t care whether things are true or false
as long as they partake of the magical glory” (Life in
Letters, p. 78).

On the Riviera the Fitzgeralds formed a close
friendship with Gerald and Sara Murphy, an
EXPATRIATE couple who lived in luxury on inherited
money, who were noted for their hospitality, and
who were seriously interested in the arts. Fitzger¬
ald came to regard Gerald Murphy as his social
conscience, and the Murphys were partial models
for Dick and Nicole Diver in Tender Is the Night.
Fitzgerald summarized his 27th year as “The most
miserable year since I was nineteen, full of terrible
failure and accute miseries. Full of hard work fairly
well rewarded in the latter half and attempts to do
better.”

The Fitzgeralds spent the winter of 1924-25 in
Rome, where he revised GG; they were en route
to Paris from Capri when the novel was published
on April 10, 1925. GG marked a striking advance
in Fitzgerald’s technique, utilizing a complex struc-

Biography 7

ture and a controlled narrative point of view. Much
of the novel’s significance is rooted in is explora¬
tion of the American dream. Jay Gatsby—a self-
made man—achieves financial success, but he
doesn’t understand how wealth works in society. He
believes in the promises of America—in “the orgas¬
tic future” (p. 141)—but his ambitions are under¬
mined by and confused with his illusions about
Daisy Fay Buchanan. Fitzgerald’s achievement
received critical praise and letters of congratulation
from other writers whom he respected. T. S. Eliot
commented, “In fact, it seems to me to be the first
step American fiction has taken since Henry James”
(December 31, 1925; CU, p. 310). However, sales
of GG were disappointing, though the stage and
movie rights brought additional income.

In Paris Fitzgerald met Ernest HEMINGWAY—
then unknown outside the expatriate literary
circle—with whom he formed a friendship based
largely on his admiration for Hemingway’s personal¬
ity and genius. Fitzgerald tried to promote Heming¬
way’s career, but Hemingway condescended to
Fitzgerald and depicted him contemptuously in his
writing. Fitzgerald’s 28th year was “The year of Zel-
da’s sickness and resulting depression. Drink, loaf¬
ing + the Murphys.” The Fitzgeralds remained in
France until the end of 1926, alternating between
Paris and the Riviera.

Fitzgerald’s third story collection, All the Sad
Young Men, was published on February 26, 1926.
His strongest collection, it sold well and received
favorable reviews. It included “The Rich Boy,” a
novelette that, like GG, explores how wealth affects
character and how wealth operates in America. It
also included “Winter Dreams” and ‘“The Sensible
Thing,”’ which have close connections with the
novel’s themes of love and loss.

Fitzgerald made little progress on his fourth
novel, a study of American expatriates in France,
provisionally titled “The Boy Who Killed His
Mother,” “Our Type,” and “The World’s Fair.”
During these years Fitzgerald’s alcoholic behav¬
ior grew more erratic, and Zelda’s unconventional
behavior became increasingly eccentric. Fitzgerald
summarized his 29th year in his Ledger: “Futile,
shameful useless but the $30,000 rewards of 1924
work. Self disgust. Health gone.”

In December 1926 the Fitzgeralds returned to
America to escape the distractions of France. They
left Scottie with his parents and traveled to HOL¬
LYWOOD for a short, unsuccessful stint of screen¬
writing in January and February 1927. While in
California, Fitzgerald met and became attracted to
actress LOIS MORAN, triggering quarrels with Zelda;
Moran became the model for Rosemary Hoyt in
Tender Is the Night. He also met MGM producer
IRVING Thalberg, who became the model for Mon¬
roe Stahr in The Love of the Last Tycoon.

In March Fitzgerald took a two-year lease on
“Ellerslie,” a mansion near WILMINGTON, Dela¬
ware. At this time Zelda commenced ballet train¬
ing, intending to become a professional dancer, and
she resumed writing. Much of her work appeared
under a joint byline with her husband because mag¬
azines insisted, although he identified in his Ledger
which pieces were hers. Fitzgerald was still unable
to make significant progress on his novel. When
they had exhausted the subsidiary-rights money
from GG, he resumed writing magazine stories in
June 1927 after a 15-month break. His Ledger sum-

The Fitzgeralds on the Riviera, 1929. (Bruccoli
Collection of F. Scott Fitzgerald, University of South
Carolina)

8 Critical Companion to F. Scott Fitzgerald

mary for his 30th year reads: “Total loss at begin¬
ning. A lot of fun. Work begins again.”

They spent the summer of 1928 in Paris, where
Zelda began ballet training with Lubov EGOROVA.
Fitzgerald financed the trip with the Basil Duke
Lee series of stories based on his own adolescence.
He summarized his 31st year in his Ledger thus:
“Perhaps its the Thirties but I can’t even be very
depressed about it.” They returned to Ellerslie in
October and remained there until March 1929;
then they returned to France, living first in Paris
and then on the Riviera. Zelda wrote a series of
stories about girls for College Humor to pay for her
renewed ballet lessons, but her intense training
damaged her health and estranged them. Fitzger¬
ald wrote stories that explored marriage problems
and the influence of Europe on Americans. In July,
he reported to Perkins that he was working on a
new angle for his novel, probably indicating that he
had dropped the matricide plot and had begun the
version about movie director Lew Kelly, which he
also later abandoned. Fitzgerald’s Ledger summary
reads: “Thirty two Years Old (And sore as hell
about it) Ominous No Real Progress in any way +
wrecked myself with dozens of people .”

The Fitzgeralds traveled to NORTH Africa in
February 1930, and he began to write a five-story
series about self-destructive debutante Josephine
Perry, developing a key concept in “Emotional
Bankruptcy”: Squandering one’s emotional capital
on trivial relationships leaves one unable to respond
to the things that are worthy of deep emotion. This
idea would resurface in “Babylon Revisited” and
Tender Is the Night.

In April 1930 Zelda suffered her first breakdown.
She was treated at MALMAISON CLINIC outside
Paris and Val-Mont Clinic in Glion, Switzer¬
land, before entering PRANGINS Clinic in Nyon,
Switzerland, in June, remaining there until Sep¬
tember 1931. Fitzgerald commuted between Paris
and Switzerland, staying in hotels in Glion, Vevey,
Caux, Lausanne, and Geneva before settling in
Lausanne in the fall. Scottie stayed with her gov¬
erness in Paris. Fitzgerald again suspended work on
his novel as he wrote short stories to pay for Zelda’s
psychiatric treatment. His terse summary for his
33rd year notes: “ The Crash! Zelda + America .”

Fitzgerald’s peak story fee of $4,000 from The
Saturday Evening Post may have had in 1929 the
purchasing power of $40,000 in 1994 dollars. None¬
theless, the general view of his affluence is dis¬
torted. Fitzgerald was not among the highest-paid
writers of his time; his novels earned comparatively
little, and most of his income before he went to
Hollywood came from magazine stories. During the
1920s his income from all sources averaged under
$25,000 a year—good money for that time, but
not a fortune. Scott and Zelda Fitzgerald did spend
money faster than he earned it; the author who
wrote so eloquently about the effects of money on
character was unable to manage his own finances.

Fitzgerald traveled to America in January 1931
to attend his father’s funeral and to report to the
Sayres about Zelda’s condition. He returned to
Europe in February and divided his time between
Paris and Switzerland. Zelda began to improve,
and she began to receive leave from Prangins to
travel with her husband; in June they spent two
happy weeks with Scottie at Lake Annecy, France.
Fitzgerald’s Ledger summary for his 34th year indi¬
cates her progress: “ A Year in Lausanne. Waiting.
From Darkness to Hope .”

Zelda was discharged from Prangins in Sep¬
tember 1931; the Fitzgeralds returned to America
and rented a house in Montgomery, where Fitzger¬
ald began to replan his novel. He made a second
unsuccessful trip to Hollywood alone in November
and December. Zelda’s father died in November,
but she handled it well. In January 1932 Fitzger¬
ald took Zelda to St. Petersburg, Florida, for her
asthma, and she suffered her second breakdown. In
February she entered the Phipps Clinic of Johns
Hopkins University Hospital in Baltimore. She
spent the rest of her life as a resident or outpatient
of sanatoriums.

In 1932, while a patient at Phipps, Zelda rap¬
idly wrote Save Me the Waltz. Her autobiographical
novel generated considerable bitterness between
the Fitzgeralds, for he regarded it as preempting
the material that he was using in his novel-in-prog-
ress. In May Fitzgerald rented “La Paix,” a house
outside Baltimore, where he resumed work on his
fourth novel, Tender Is the Night. His notes show
that Zelda’s illness, which supplied many of the

Biography 9

details for Nicole Diver’s illness, was the determin¬
ing factor in his final approach to the novel, as
well as providing the emotional focus for the work.
The preliminary material also demonstrates that
the published novel did not begin with Fitzgerald’s
1932 work but rather developed through the long
process of composition, salvaging portions of the
early Melarky drafts. Zelda was discharged from
Phipps in June 1932, and her novel was published
in October. Fitzgerald’s 35th-year summary indi¬
cates the ups and downs of the year: “ Recession
+ Procession Zelda Well, Worse, Better. Novel
intensive begins.”

The Vagabond Junior Players produced
Zelda’s play Scandalabra in Baltimore in summer
1933. Fitzgerald summarized his 36th year thus:
“ A strange year of Work + Drink. Increasingly

unhappy.—Zelda up + down. 1st draft of novel

complete Ominous! ” Fitzgerald rented a house in
Baltimore in December, and in February 1934 Zelda
returned to Phipps after her third breakdown. She
was transferred to CRAIG House in Beacon, New
York, in March and then to Sheppard-Pratt HOS¬
PITAL in Towson, Maryland, in May.

Tender Is the Night was serialized in Scribner’s
Magazine from January through April 1934 and
was published in book form on April 12. The nine-
year gap between the publication of GG and TITN
created tremendous anticipation, but Fitzgerald’s
most ambitious novel was a commercial failure,
and its merits were matters of critical dispute. Set
in France during the 1920s, TITN examines the
deterioration of Dick Diver, a brilliant American
psychiatrist, during the course of his marriage to
a wealthy mental patient. Fitzgerald’s depiction of
Dick’s decline illuminates his own sense of a loss of
purpose after the success of GG, as later chronicled
in his 1936 “Crack-Up” essay. The two men share
an emotional bankruptcy marked by drinking, a
dislike of people, an increasing bigotry, and dif¬
ficulty in completing the books they are writing.
The novel explores Fitzgerald’s wasted genius with
a mixture of pity and contempt as he judges himself
and Dick.

Since the income from TITN did not solve his
financial problems, Fitzgerald resumed writing sto¬
ries. In April he began work on a historical novel

composed of connected stories that he could sell
separately. “The Castle” was set in ninth-century
France, and the four of eight planned stories that
Fitzgerald wrote are some of his worst writing. He
continued writing stories for the Post and found
a new market for stories and essays in ESQUIRE,
a men’s magazine. His 37th year was the last for
which he wrote a summary: “Zelda breaks, the
novel finished. Hard times begin for me, slow but
sure. Ill health throughout.”

Fitzgerald’s fourth story collection, Taps at Rev¬
eille, was published on March 20, 1935. It was a Lit¬
erary Guild alternate in June and received mostly
favorable reviews. It included a selection of Basil
and Josephine stories as well as the strong stories
“The Last of the Belles” and “Babylon Revisited,”
but Fitzgerald omitted other good stories such as
“One Trip Abroad,” “The Swimmers,” and “Jacob’s
Ladder” because he had borrowed material from
them for TITN.

The 1935-37 period—a time when Fitzgerald
was ill, drunk, in debt, and unable to write com¬
mercial stories—is known as “the crack-up” from
the title of a 1936 essay in which he analyzed his
own emotional bankruptcy. This was the first of
three confessional articles, including “Pasting It
Together” and “Handle with Care,” which Fitzger¬
ald wrote for Esquire after the publication of TITN.
Reaction to the “Crack-Up” series was largely nega¬
tive: Magazine editors and movie people distrusted
Fitzgerald’s ability to deliver good work, and his
friends found the articles embarrassing. During
these years he moved back and forth from Balti¬
more to hotels in the region near Asheville, North
Carolina, where in 1936 Zelda entered Highland
HOSPITAL. After Baltimore Fitzgerald did not main¬
tain a home for Scottie. When she was 14, she went
to boarding school, and the Obers became her sur¬
rogate family. Nonetheless, Fitzgerald functioned as
a concerned father by mail, attempting to supervise
Scottie’s education and to shape her social values.
Fitzgerald’s mother died in September 1936.

Fitzgerald went to Hollywood alone in July 1937
with a six-month Metro-Goldwyn-Mayer contract
at $1,000 a week. He received his only screen
credit for adapting Three Comrades (1938), and
his contract was renewed for a year at $1,250 a

10 Critical Companion to F. Scott Fitzgerald

week. This $91,000 from MGM was a great deal
of money during the late Depression years when
a new Chevrolet coupe cost $619; nevertheless,
although Fitzgerald paid off most of his debts, he
was unable to save. His trips East to visit Zelda
were disastrous.

In California Fitzgerald fell in love with movie
columnist SHEILAH GRAHAM; their relationship
endured despite his benders. In September 1937 he
visited Zelda in Asheville, and they spent four days
in South Carolina; they spent Easter 1938 together
in Virginia. After MGM dropped his option at the
end of 1938, Fitzgerald worked as a freelance script¬
writer and wrote short-short stories for Esquire. In
April 1939 the Fitzgeralds traveled to Cuba, where
he went on a bender; he was hospitalized in New
York before returning to California. This trip was
the last time the Fitzgeralds were together.

Fitzgerald began his Hollywood novel, The Love
of the Last Tycoon, in 1939; his attempt to sell
serial rights to COLLIER’S in September failed. He
wrote the Pat Hobby stories to fund his work on
the novel, and they provided an outlet for some of
the bitterness Fitzgerald felt about his experiences
in Hollywood. He had written more than half of
a working draft of his fifth novel when he died of
a heart attack in Graham’s apartment on Decem¬
ber 21, 1940. Zelda Fitzgerald perished in a fire in
Highland Hospital in 1948.

shares Fitzgerald’s allegiance to traditional Ameri¬
can ideals. Even in its unfinished state, LOLT is
an excellent Hollywood novel because it captures
and expresses the scope of the movies and the last-
frontier quality of the old Hollywood. Rather than
condemning Hollywood and the movies, Fitzgerald
portrays a heroic producer—a movie executive as
creative artist committed to raising the standards of
artistic taste in the industry.

Fitzgerald’s Princeton friend Edmund Wilson
edited the unfinished manuscript, which was pub¬
lished on October 27, 1941, as The Last Tycoon; the
volume included five of Fitzgerald’s stories: “May
Day,” “The Diamond as Big as the Ritz,” “The Rich
Boy,” “Absolution,” and “Crazy Sunday.” Most of the
reviews were favorable, and the positive responses of
Stephen Vincent Benet and James Thurber may
have contributed to the Fitzgerald REVIVAL.

F. Scott Fitzgerald died believing himself a fail¬
ure. The obituaries were condescending, and he
seemed destined for literary obscurity. The first
phase of the Fitzgerald resurrection—“revival” does
not adequately describe the process—occurred
between 1945 and 1950. By 1960 he had achieved
a secure place among America’s enduring writers:
The Great Gatsby, a work that seriously examines
the theme of aspiration in an American setting,
defines the classic American novel.

—Matthew J. Bruccoli

(revised and augmented from F. Scott Fitzgerald:
A Life in Letters [New York: Scribners, 1994] with
permission of Scribner, an imprint of Simon &
Schuster)

Part II

Works A-Z

"Absolution" 13

“Absolution”

Fiction. Written June 1923. The American Mer¬
cury, 2 (June 1924), 141-149; All the Sad Young
Men; The Last Tycoon.

Young Rudolph Miller tells a lie in confession
and is afraid to take communion. His father forces
him to go to confession again, where he chooses not
to confess the previous day’s lie. He visits Father
Adolphus Schwartz to unburden himself. Although
he is frightened by the deranged priest’s ravings, he
senses a confirmation of his conviction of a glam¬
our separate from God.

CRITICAL COMMENTARY

An event from Fitzgerald’s youth provided the
source for this story. He noted in his Ledger for Sep¬
tember 1907: “He went to Confession about this
time and lied by saying in a shocked voice to the
priest ‘Oh no, I never tell a lie’” (p. 162).

There has been much speculation on the rela¬
tionship between “Absolution” and The Great
Gatsby. Fitzgerald wrote to Maxwell Perkins that
he had planned the material as the “prologue of the
novel” (June 18, 1924; Life in Letters, p. 76; Scott/
Max, p. 72). He also wrote that it was intended to
be “a picture of his [Gatsby’s] early life” but that
he cut it “to preserve the sense of mystery” (to
John Jamieson, April 15, 1934; Letters, p. 509).
Although these statements seem to support the
general assumption that Rudolph Miller is young
Jimmy Gatz (Jay Gatsby), it is not clear that they
are truly the same character from the same work
of fiction. Fitzgerald’s 1922 plan for the novel that
became GG included a “catholic element” that is
absent from the published novel although central
to the short story (c. June 20, 1922; Life in Let¬
ters, p. 60; Scott/Max, p. 61); in fact, a Lutheran
minister conducts Gatsby’s funeral. “Absolution”
may have been salvaged from a version of the
novel that Fitzgerald discarded before approach¬
ing it from “a new angle,” by which he meant a
new plot (c. April 10, 1924; Life in Letters, p. 67;
Scott/Max, p. 69).

It is safest to regard Rudolph Miller as an early
treatment of the character who became Jay Gatsby,

with whom he shares a romantic disposition. Both
Rudolph and young Jimmy Gatz find their fantasy
lives more satisfying than their real lives. Both imag¬
ine that they are not really the sons of their parents.
Both create alternate, more glamourous personali¬
ties for themselves—Jimmy Gatz as Jay Gatsby and
Rudolph Miller as Blatchford Sarnemington. In short,
both aspire to a more romantic and fulfilling life.

The story’s structure comprises five sections. The
first section introduces the troubled priest, Father
Schwartz, and the beginning of Rudolph’s account
of his false confession three days ago. Sections 2-4
flash back to Rudolph’s false confession and his sub¬
sequent interactions with his father; then Section 5
shifts back to Rudolph’s present-time conversation
with Father Schwartz and his ultimate absolution.

Father Schwartz shares Rudolph’s (and Gatsby’s)
dissatisfaction with life. He weeps because he is
“unable to attain a complete mystical union with
our Lord.” He is disturbed by the sights, sounds,
and scents of life on the street, and he finds “no
escape from the hot madness of four o’clock.” Even
the wheat is “terrible to look upon,” the carpet pat¬
tern sparks thoughts of “grotesque labyrinths” (p.
259), and his study is “haunted” (p. 260). During
Rudolph’s conversation with Father Schwartz, the
priest notices the boy’s remarkable eyes and recog¬
nizes that like him, Rudolph yearns for more from
life. Schwartz deals with his dissatisfaction in a dif¬
ferent way than Rudolph and Gatsby do, however.
Rather than imagining and creating a finer life for
himself, he goes mad.

Rudolph’s heroic ambitions and his pride in his
sins are interwoven. When he confesses that he has
not believed he was the son of his parents, he “airily”
identifies the reason as “just pride” (p. 262). When
he lies by telling Schwartz that he never lies, he
briefly tastes “the pride of the situation” before real¬
izing that “in heroically denying he had told lies” he
had committed the terrible sin of lying in confession
(p. 263). He recognizes this as a “bad mistake,” but
rather than worrying about it, he escapes into his
heroic personality of Blatchford Sarnemington, who
lives “in great sweeping triumphs,” and a “suave
nobility” flows from him (p. 263).

A turning point comes for Rudolph when he goes
again to confession and chooses not to confess the

14 "Adjuster, The'

lie. He realizes that he will never again easily be able
to put the “abstraction” of religion before “the neces¬
sities of his ease and pride” (p. 267). He crosses “an
invisible line” and becomes aware that his isolation
applies not only to the times when he is Blatchford
Samemington but to “all his inner life” (pp. 267-
268). He has previously made light of his ambitions,
shames, and fears, but now he realizes that these
things are his true self, and everything else has been a
false front presented to the world of convention.

Nevertheless, Rudolph is still a little afraid of
God. He fears that God will strike him down dur¬
ing the communion service, and, in a paragraph
reminiscent of Nathaniel Hawthorne’s writings, he
hears “the sharp taps of his cloven hoofs” on the
church floor and senses “a dark poison” in his heart
(p. 269). He feels less frightened, however, after
telling his story to Father Schwartz.

Rudolph has come to Father Schwartz to confess
his sins and be cleared of blame and consequences.
But rather than offering the religious absolution
the boy seeks, the priest finally breaks down and
remarks, “When a lot of people get together in the
best places things go glimmering” (p. 270). He warns
the boy not to get up close, “because if you do,
you’ll only feel the heat and the sweat and the life”
(p. 271). Rudolph senses that the man is crazy, yet
when Schwartz reiterates his point, Rudolph thinks
of Blatchford Samemington, recognizing that for
some people, the life of their dreams is superior to an
unsatisfactory reality.

In the priest’s ravings, Rudolph senses an abso¬
lution of a different kind—a confirmation of his
conviction “that there was something ineffably gor¬
geous somewhere that had nothing to do with God”
(p. 271). In fact, Rudolph comes to believe that
God must have understood the heroic nature of his
attempt to brighten his confession with a lie. Fitzger¬
ald describes the connection in a hallmark passage:

At the moment when he had affirmed immacu¬
late honor a silver pennon had flapped out into
the breeze somewhere and there had been the
crunch of leather and the shine of silver spurs
and a troop of horsemen waiting for dawn on a
low green hill. The sun had made stars of light
on their breastplates like the picture at home of
the German cuirassiers at Sedan, (p. 271)

As the story ends, Father Schwartz collapses
helplessly into madness, but Rudolph Miller—
absolved of convention rather than sin—goes forth
committed to a romantic life of aspiration, heroism,
nobility, and glamour.

CHARACTERS

Miller, Carl Rudolph Miller’s ineffectual father,
a freight agent.

Miller, Mrs. Carl Rudolph Miller’s mother.

Miller, Rudolph Eleven-year-old boy who cre¬
ates for himself an alternate persona named Blatch¬
ford Samemington and who is frightened over the
implications of having told a lie in confession. His
encounter with the deranged Father Adolphus
Schwartz confirms his sense of a glamour separate
from God. Rudolph is probably an early treatment
of the GG character Jimmy Gatz (Jay Gatsby).

Schwartz, Father Adolphus Deranged priest
whose ravings confirm Rudolph Miller’s sense of
the existence of a glamour separate from God.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New York:
Scribner, 1989).

Malin, Irving. “Absolution’: Absolving Lies.” In The
Short Stories of F. Scott Fitzgerald: New Approaches
in Criticism, edited by Jackson R. Bryer (Madison:
University of Wisconsin Press, 1982), 209-216.
Stewart, Lawrence D. “Absolution’ and The Great
Gatsby,” Fitzgerald/Hemingway Annual 5 (1973),
181-187.

“Adjuster, The”

Fiction. Written December 1924. REDBOOK 45
(September 1925), 47-51, 144-148; All the Sad
Young Men.

Luella Hemple tells her friend Ede Karr that
she is bored with her baby and that she believes
she and her husband are drifting toward divorce.

"Afternoon of an Author" 15

That night Charles Hemple brings home Doctor
Moon to talk with his wife. While Moon is inform¬
ing Luella that trying to live her kind of life has
been too great a strain for her husband, Charles
suffers a nervous collapse, and Luella is forced to
assume new responsibilities around the household.
Some time later their baby dies, and after the baby’s
funeral, Doctor Moon informs Luella that Charles
is nearly well. She sees this as an opportunity to
escape to a new life, but Moon compels her to stay
with her husband. The Hemples resume a normal
life together and have two more children. Doctor
Moon informs Luella that she has grown up and no
longer needs him and that she must be responsible
for making her home happy.

CHARACTERS

Danski, Mrs. Charles and Luella Hemple’s cook,
who quits her job because it is too difficult. Luella
refuses to pay her.

Hemple, Charles Luella Hemple’s husband, who
suffers a nervous collapse.

Hemple, Chuck Charles and Luella Hemple’s
young son, who dies some time after his father’s
nervous collapse.

Hemple, Luella Bored and selfish young wife
who learns responsibility after her husband, Charles
Hemple, suffers a nervous collapse.

Karr, Ede (Mrs. Alphonse Karr) Luella Hemp¬
le’s friend, who listens to Luella’s tale of boredom
with her child and husband.

Moon, Doctor Mysterious doctor whom Charles
Hemple asks to speak to his wife, Luella Hemple.
Moon urges a sense of responsibility upon Luella and,
when he believes she has finally grown up, tells her
she must be responsible for making her home happy.

“Adolescent Marriage, The”

Fiction. Written December 1925. The Saturday
Evening Post 198 (March 6,1926), 6-7,229-230,
233-234; The Price Was High.

George Wharton asks Chauncey Garnett to
help with his daughter, Lucy Clark, who ran away
to marry Garnett’s employee Llewellyn Clark but
left him after a month. After talking with both
Lucy and Llewellyn, who refuse to be reconciled,
Garnett tells the Whartons that he has arranged an
annulment for the couple. Garnett urges Llewellyn
Clark to enter an architectural competition, and
Clark’s plan for a suburban bungalow wins the
prize. Garnett tells Clark that Lucy plans to marry
a man named George Hemmick, but after Clark’s
bungalow is built, he realizes that he still loves
Lucy and that he had designed the house with her
in mind. Garnett brings Lucy, who is pregnant, to
Clark and reveals that he had never gotten the
annulment.

CHARACTERS

Clark, Llewellyn Young architect who tempo¬
rarily separates from his wife, Lucy Wharton Clark.

Clark, Lucy Wharton Sixteen-year-old girl who
elopes with 20-year-old Llewellyn Clark. She leaves
him because she considers him selfish, but they are
reunited.

Garnett, Chauncey Elderly architect who inter¬
venes to save the marriage of Lucy and Llewellyn
Clark.

Wharton, Elsie Lucy Wharton Clark’s mother,
who is distressed by her daughter’s elopement and
separation.

Wharton, George Lucy Wharton Clark’s father,
who asks his friend Chauncey Garnett to intervene
to save Lucy’s marriage.

“Afternoon of an Author”

Autobiographical essay. ESQUIRE 6 (August 1936),
35, 170; Afternoon of an Author.

Description of a tired and lonely author who is
trying to come up with an idea for a story. When the
author notices a high-school girl and boy with their
attention fixed on each other, he is moved by their

16 Afternoon of an Author: A Selection of Uncollected Stories and Essays

isolation: “He knew he would get something out of
it professionally, if only in contrast to the growing
seclusion of his life and the increasing necessity of
picking over an already well-picked past” (AOAA,
p. 182). Fitzgerald was undecided whether to clas¬
sify this piece as nonfiction or a story.

Afternoon of an Author:

A Selection of Uncollected
Stones and Essays

With introduction and notes by Arthur Mizener.
Princeton, N.J.: Princeton University Library,
1957; New York: SCRIBNERS, 1958; London: Bod-
ley Head, 1958. Contents: “A Night at the Fair,”
“Forging Ahead,” “Basil and Cleopatra,” “Princ¬
eton,” “Who’s Who—and Why,” “How to Live
on $36,000 a Year,” “How to Live on Practically
Nothing a Year,” “How to Waste Material,” “Ten
Years in the Advertising Business,” “One Hundred
False Starts,” “Outside the Cabinet-Maker’s,” “One
Trip Abroad,” ‘“I Didn’t Get Over,”’ “Afternoon
of an Author,” “Author’s House,” “Design in Plas¬
ter,” “Boil Some Water—Lots of It,” “Teamed with
Genius,” “No Harm Trying,” “News of Paris—Fif¬
teen Years Ago.”

“Air Raid”

In March 1939 Fitzgerald worked for producer Jeff
Lazarus at Paramount with DONALD OGDEN STEW¬
ART on “Air Raid” for Madeleine Carroll (1906-
87), but the movie was not made.

“Alcoholic Case, An”

Fiction. Written December 1936. Esquire 6 [7]
(February 1937), 32, 109; Stories.

A nurse contemplates quitting the case of an
alcoholic cartoonist, but after her agency has dif¬
ficulty locating a replacement for her, she decides to

return to the job because she likes the man and feels
a duty to live up to the ideals of her profession.

CHARACTERS

cartoonist (unnamed) Alcoholic who throws and
breaks a bottle of gin when his nurse tries to keep it
from him.

Hixson, Mrs. Agent who unsuccessfully tries to
find a replacement for the nurse who wishes to give
up the case of the alcoholic cartoonist.

nurse (unnamed) Woman who considers giving
up the case of the alcoholic cartoonist to whom
she is assigned but who goes back to him when her
agent is unable to find a replacement for her.

“Aldous Huxley’s ‘Crome
Yellow’ ”

Review. St. Paul Daily News, February 26, 1922,
feature section, p. 6; In His Own Time.

Fitzgerald designates Huxley (1894-1963) “after
Beerbohm, the wittiest man now writing in English”
(In His Own Time, p. 129). He describes this satiri¬
cal novel about an English country house party as
“the sort of book that will infuriate those who take
anything seriously, even themselves” (p. 129).

All the Sad Young Men

Story collection. New York: Charles Scribner’s
Sons, 1926. Dedication: “TO RING AND ELLIS
LARDNER.” Contents: “The Rich Boy,” “Winter
Dreams,” “The Baby Party,” “Absolution,” “Rags
Martin-Jones and the Pr-nce of W-les,” “The
Adjuster,” “Hot and Cold Blood,” “The Sensible
Thing,” and “Gretchen’s Forty Winks.” Fitzger¬
ald originally considered calling the collection
“Dear Money.” Published on February 26, 1926
in a first printing of 10,100 copies at $2.00, with
a dust jacket illustrated by Cleon (CLEONIKES
Damianakes).

Assorted Spirits 17

The volume sold well, with three printings totaling
16,170 copies in 1926. All the Sad Young Men was
Fitzgerald’s strongest story collection and received
favorable reviews. The unsigned review in The
Bookman noted: “As F. Scott Fitzgerald continues
to publish books, it becomes apparent that he is
head and shoulders better than any writer of his
generation” (“The Best of His Time,” The Bookman
63 [May 1926], 348-349; F. Scott Fitzgerald: The
Critical Reception, p. 272).

“Ants at Princeton, The”

Satire. Esquire 5 (June 1936), 35, 201.

Account of Princeton University admitting
ants to the student body, with a focus on an unusu¬
ally large ant who starred on the football team.

Apprentice Fiction of F. Scott
Fitzgerald 1909-1917, The

Story collection, edited with introduction by John
Kuehl. New Brunswick, N.J.: Rutgers University
Press, 1965. A collection of Fitzgerald works origi¬
nally published in The St. Paul Academy Now and
Then, The Newman News, and The Nassau Liter¬
ary Magazine. Contents: “The Mystery of the Ray¬
mond Mortgage,” “Reade, Substitute Right Half,”
“A Debt of Honor,” “The Room with the Green
Blinds,” “A Luckless Santa Claus,” “The Trail of the
Duke,” “Pain and the Scientist,” “Shadow Laurels,”
“The Ordeal,” “The Debutante,” “The Spire and the
Gargoyle,” “Tarquin of Cheepside,” “Babes in the
Woods,” “Sentiment—and the Use of Rouge,” “The
Pierian Springs and the Last Straw,” and Appendix:
“The Death of My Father.”

Assorted Spirits

Play. InF. Scott Fitzgerald’s St. Paul Plays, 1911-1914.

Performed by the Elizabethan Dramatic
Club on September 8, 1914, at the St. Paul
Y.W.C.A. Auditorium and on September 9 at the

White Bear Yacht Club in Dellwood, raising
$500 for the Baby Welfare Association. Fitzger¬
ald played the role of Peter Wetherby and was
also listed on the program as Stage Manager. A
newspaper article reported that when a fuse blew
during the second performance, Fitzgerald kept
the audience from panic: He “proved equal to the
situation, however, and leaping to the edge of the
stage quieted the audience with an improvised
monologue” (scrapbook, PRINCETON UNIVERSITY
Library).

SYNOPSIS

Act I

Peter Wetherby, who needs $10,000 to save his
business, offers to sell his house to Josephus Hen¬
drix, his second cousin. Hendrix, who knows that
the railroad intends to buy the property, plans to
dress as a devil to prove the house is haunted so
that he can buy it at a low price from Wetherby.
Wetherby hires fortune-teller Madame Zada, who
is his sister, to drive any spirits from the house.
While Hendrix is visiting the Wetherby home,
he gives his cash to Peter’s son, Dickie Weth¬
erby, for safekeeping; the maid, Hulda, lets in
Second Story Salle to steal the money. Mean¬
while William Chapman, dressed as a devil for a
masquerade ball, mistakenly enters the Wetherby
house, thinking it is the home of his aunt, Miss
Spigot, who has a similar address. There are vari¬
ous encounters among the three intruders and
Dickie; his sister, Cecile Wetherby; and Hendrix’s
ward, Clara King.

Act 11

The next morning Dickie tells his father that Hen¬
drix’s money has disappeared. Wetherby tells him
he must marry Miss King, an heiress, to save his
business. Salle returns disguised as a book agent
to get the money from Hulda, and two police¬
men arrive to apprehend her. The missing money
is found in Chapman’s coat pocket, where Hulda
had stashed it. Hendrix is discovered in his devil
costume; Madame Zada is revealed to be his wife,
Amelia, whom he had left years before, and they
are reunited. Chapman, who is a railroad contrac¬
tor, offers Wetherby $15,000 for his house and pro¬
poses to Cecile.

18 "At Your Age'

CHARACTERS

Chapman, William Railroad contractor dressed
as a devil who mistakenly enters Peter Wetherby’s
home on his way home from a masquerade ball. He
later offers to purchase Wetherby’s house for the
railroad and proposes marriage to Cecile Wetherby.

Hendrix, Josephus Peter Wetherby’s second
cousin, who dresses as a devil to prove Wetherby’s
house is haunted so that he may buy it at a low
price and resell it to the railroad.

Hulda Peter Wetherby’s Swedish maid, who lets
in burglar Second Story Salle to steal the $10,000
which his guest, Josephus Hendrix, has brought to
purchase his house.

King, Clara Josephus Hendrix’s ward, who
smokes cigarettes and has been engaged three times.
She is unsuccessfully wooed by Dickie Wetherby.

Mulligan Policeman who enters Peter Wetherby’s
house to apprehend burglar Second Story Salle.

O'Flarity Policeman who enters Peter Wetherby’s
house to apprehend burglar Second Story Salle.

Second Story Salle Burglar whom Peter Weth-
erby’s maid, Hulda, lets into his house to steal
the $10,000 that his guest, Josephus Hendrix, has
brought to purchase the house.

Spigot, Miss Will Chapman’s doting aunt, who
calls on the Peter Wetherbys and thinks they were
all drunk when Hulda, their maid, tells her about
all the “spirits” the previous night.

Wetherby, Cecile Peter Wetherby’s daughter,
who is in love with Will Chapman.

Wetherby, Dickie Peter Wetherby’s son, a
“hypochondriac with hay fever” who unsuccessfully
woos the visiting Clara King.

Wetherby, Peter Man who is trying to sell his
house to raise the $10,000 he needs to save his
business.

Zada, Madame (Amelia Wetherby Hendrix)

Peter Wetherby’s sister, who earns her living as
a fortune-teller since her husband, Josephus Hen¬
drix, deserted her. She and Hendrix are reunited at
the end of the play.

“At Your Age”

Fiction. Written June 1929. The SATURDAY EVE¬
NING POST 202 (August 17,1929), 6-7, 79-80; The
Price Was High.

Fifty-year-old Tom Squires admires a young
blonde clerk in a drugstore and is overcome with
a desire to restore youth to his life before it is too
late. He becomes attracted to young Annie Lorry,
who is dating Randy Cambell but who agrees to
go out with Tom several times. When Tom real¬
izes that Annie is not really interested in him, he
writes to her mother for permission to court Annie,
knowing that her mother’s refusal will be the spark
that kindles Annie’s interest in a forbidden beau.
When Annie is asked not to participate in the
Junior League show because of her defiance of her
mother, Tom decides he is harming her and leaves
town. However, he is unable to relinquish her and
returns, and they become engaged. When Tom is
forced to wait several hours for Annie’s return from
a car ride with Randy Cambell and realizes that
he and Annie’s mother are of the same genera¬
tion with the same attitude toward young Annie’s
behavior, he breaks off his relationship with Annie.

“At Your Age” brought a raise from the Post to
$4,000, Fitzgerald’s top story price. It was prob¬
ably based on Fitzgerald’s St. Paul friends Oscar
and Xandra Kalman; Oscar was considerably older
than his wife, Xandra.

CHARACTERS

Cambell, Randy Young man whom Annie Lorry
is dating when she begins to go out with Tom
Squires and who brings her home late after she and
Squires are engaged.

Jaques, Leland Young man whom Tom Squires
asks about Annie Lorry.

"Babes in the Woods" 19

Lorry, Annie Debutante who is briefly engaged
to 50-year-old Tom Squires.

Lorry, Arthur Annie Lorry’s father.

Lorry, Mabel Tollman Annie Lorry’s mother,
who objects to Annie’s relationship with Tom
Squires.

Squires, Tom Fifty-year-old man who seeks to
restore some youth to his life by dating young Annie
Lorry.

“Auction—Model 1934”

Autobiographical article. ESQUIRE 2 (July 1934),
20, 153, 155; The Crack-Up. Bylined “F. Scott and
Zelda Fitzgerald,” but credited to Zelda Fitzger¬
ald in Ledger; written by Zelda and revised by
Fitzgerald.

Inventory of the Fitzgeralds’ possessions that
evokes their life during the 1920s and early 1930s.

“Author’s Apology, The”

Tipped-in leaf, signed by Fitzgerald, in about 500
copies of the third printing of This Side of Paradise,
which were distributed at the May 1920 Ameri¬
can Booksellers Association meeting; printed text
facsimiled as a keepsake in a limited edition of 50
copies (Columbia, S.C.: MATTHEW J. BRUCCOLI,
1970); holograph facsimiled in a limited edition
of 200 copies (Kent, Ohio: Kent State Univer¬
sity Press, 1971); printed text facsimiled in In His
Own Time.

Includes Fitzgerald’s pronouncement: “My whole
theory of writing I can sum up in one sentence:
An author ought to write for the youth of his own
generation, the critics of the next, and the school¬
masters of ever afterward” (In His Own Time, p.
164). The first two paragraphs of “The Author’s
Apology” were revised from “An Interview with F.
Scott Fitzgerald.”

“Author’s House”

Autobiographical essay. Esquire 6 (July 1936), 40,
108; Afternoon of an Author.

Allegorical tour of Fitzgerald’s house, with an
exploration of what influenced him to become a
writer and a description of the circumstances of a
writer’s life.

“Author’s Mother, An”

Fiction. ESQUIRE 6 (September 1936), 36; The Price
Was High.

Mrs. Johnston faints after shopping for a birth¬
day present for her son, Hamilton T. Johnston, a
successful author. While in the ambulance, she says
that her son will write about the incident. As she is
dying at the hospital, she senses the presence of her
favorite sentimental poets, Alice and Phoebe Cary
(1820-71 and 1824-71).

This obituary story for Fitzgerald’s mother, Mol-
lie McQuillan Fitzgerald, was written before her
death in early September 1936.

CHARACTERS

Johnston, Hamilton T. Author whose mother
does not understand his writing.

Johnston, Mrs. Woman who does not understand
the writing of her son, Hamilton T. Johnston. Based
on Mollie McQuillan Fitzgerald.

“Babes in the Woods”

Fiction. Nassau Literary Magazine 73 (May 1917),
55-64; revised in The Smart Set, 60 (September
1919), 67-71; incorporated into This Side of Para¬
dise; Apprentice Fiction.

During a Christmas party, 16-year-old Isabelle
attracts Kenneth Powers. After dinner they are
alone but are interrupted just as they are about to
kiss. This story of “simply very sophisticated, very
calculating and finished, young actors, each playing

20 "Babes in Wonderland'

a part that they had played for years” (Apprentice
Fiction, p. 136), is based on Fitzgerald’s first meeting
with Ginevra King in St. Paul. Fitzgerald recycled
it in TSOP as the first meeting of Isabelle Borge and
Amory Blaine.

CHARACTERS

Carroll, Peter Hotchkiss student who is charmed
by Isabelle, unaware that she is really interested in
Kenneth Powers. This character is renamed Froggy
Parker in TSOP.

Isabelle Sophisticated 16-year-old girl who is
an experienced flirt; based on Ginevra King. This
character is renamed Isabelle Borge in TSOP.

Powers, Kenneth College freshman who is
attracted to Isabelle at a Christmas party. This
character is replaced by Amory Blaine in TSOP.

Terrell, Elaine Girl whom Isabelle visits during
Christmas vacation. This character is renamed
Sally Weatherby in TSOP.

“Babes in Wonderland”

On January 6, 1939, Fitzgerald wrote a two-page
memo to MGM producer John Considine (1898—
1961) proposing a musical about a group of aspiring
actors and actresses hiding out in a movie studio
(Correspondence, pp. 524-525). The project was
not developed.

“Babylon Revisited”

Fiction. Written December 1930. The SATURDAY
Evening Post 203 (February 21, 1931), 3-5, 82-
84; Taps at Reveille.

American businessman and recovering alcoholic
Charlie Wales, who had lived in Paris during the
boom of the 1920s, returns there in 1930. His first
stop is the Ritz Bar, where he inquires about his old
companions and leaves his brother-in-law’s address

By F. SCOTT FITZGERALD

"Babylon Revisited" was published in the Saturday
Evening Post (February 21, 1931). (Matthew J. andArlyn
Bruccoli Collection, University of South Carolina)

for Duncan Schaeffer. He then goes to dinner at the
home of his brother- and sister-in-law, Lincoln and
Marion Peters, where his daughter, Honoria Wales,
has been living. He refuses a cocktail because he
now limits himself to one drink a day as a way to
keep the idea of liquor in proportion. After dinner
he visits some of his former haunts and recalls the
dissipation of his past.

While at lunch with Honoria the next day, he
encounters old friends Duncan Schaeffer and Lor¬
raine Quarries but declines to give them his address.
Honoria tells him she wants to live with him—a
change which is the purpose of his visit. When he
broaches the subject with the Peterses, Marion
recalls how after a drunken quarrel, he had locked
his wife, Helen Wales, Marion’s sister, out in the
snow, which contributed to her death from heart

"Babylon Revisited" 21

trouble. Charlie had been in a sanitarium when
he consented to Marion’s guardianship of Hono-
ria. Lincoln agrees for Charlie to take Honoria,
but Marion wants to retain legal guardianship for a
while longer.

The next evening, while Charlie is at the
Peterses’ apartment, Duncan and Lorraine show up
drunk. Charlie sends them away, but Marion is so
upset that she and Lincoln decide to delay letting
Charlie have Honoria for six months. At the Ritz
Bar, Charlie tells the bartender that he lost every¬
thing he wanted in the boom; he comforts him¬
self with the thought that Helen would not have
wanted him to be so alone.

CRITICAL COMMENTARY

“Babylon Revisited,” usually regarded as one of
Fitzgerald’s best stories, was one of the first major
stories he wrote after Zelda’s spring 1930 break¬
down. Through the character of Charlie Wales, he
judges his own past, assesses his guilt for his part in
Zelda’s breakdown, and considers his responsibility
for his daughter, SCOTTIE FITZGERALD, whom he
was then raising alone.

Fitzgerald also explores and evaluates the
wealthy EXPATRIATE lifestyle in Paris in the twenties
through Charlie’s partly critical, partly nostalgic
retrospective of those years. “Babylon Revisited”
shares a sense of loss and regret with Tender Is the
Night, on which Fitzgerald had been working off
and on for five years when he wrote the story. It is
likewise linked with the novel and with “One Trip
Abroad” by its negative analysis of what happens to
Americans in Europe.

When Marion comments that Paris is pleas¬
anter now with fewer Americans around, Charlie
replies wistfully, “It was nice while it lasted. . . .
We were a sort of royalty, almost infallible, with
a sort of magic around us” (The Short Stories of F.
Scott Fitzgerald, p. 619). Even though the excesses
of being “a sort of royalty” ultimately led to his
wife’s death, he is far more nostalgic than he is
critical of those times.

On his first night back in Paris, Charlie strolls
somewhat disgustedly past his old haunts in the
nightclub district and reflects on the consequences
of his dissipation:

All the catering to vice and waste was on an
utterly childish scale, and he suddenly realized
the meaning of the word “dissipate”—to dis¬
sipate into thin air; to make nothing out of
something....

He remembered thousand-franc notes given to
an orchestra for playing a single number, hundred-
franc notes tossed to a doorman for calling a cab.

But it hadn’t been given for nothing.

It had been given, even the most wildly
squandered sum, as an offering to destiny that
he might not remember the things most worth
remembering, the things that now he would
always remember—his child taken from his
control, his wife escaped to a grave in Vermont.

(p. 620)

The apparently reformed Charlie earnestly desires
to resume responsibility for the care and upbring¬
ing of his daughter, and he reflects that he “must
be both parents to her” (p. 621). At first it seems
unfair that he fails in his mission to regain custody
of her. Marion is hostile, determined to think the
worst of him, and Duncan and Lorraine could
not have arrived at a worse time. Casual readers
may view “Babylon Revisited” as a sentimental
account of a truly reformed, devoted father whose
attempts to win back his daughter are thwarted
by outside circumstances beyond his control.

Yet Charlie himself is ultimately responsible
for undermining his own purpose. Although he
tells Marion that he has “changed radically,” he
is unable to shake his allegiance to the past, to
the people and places that remind him of the good
and bad times of his wild years. Significantly, the
story begins and ends in the Ritz Bar—a symbol of
expatriate extravagance. His first actions on return¬
ing to Paris are to inquire about his old friends and
give the barman the Peterses’ address specifically
for Duncan—a clear indication of his culpability,
despite his reluctance to give Duncan the name
of his hotel when he meets him in person. This is
a significant plot point, sometimes overlooked, in
a carefully crafted story that connects cause and
effect. Charlie’s nostalgic pilgrimage to the Ritz Bar
is the worst possible choice for a man whose goal

22 "Babylon Revisited'

depends on his ability to demonstrate that he has
changed. Leaving his address for his companion in
dissipation makes it obvious that he is unwilling to
make a complete break with the past, despite its
catastrophic consequences.

When he leaves the Peters home after the disas¬
trous visit of Duncan and Lorraine, Charlie returns
to the Ritz Bar, where he converses with Paul, the
head barman:

“I heard that you lost a lot in the crash.”

“I did,” and he added grimly, “but I lost

everything I wanted in the boom.”

“Selling short.”

“Something like that.” (p. 633)

Paul is talking about the stock market, where “sell¬
ing short” refers to playing as a bear, selling and buy¬
ing stock in the expectation that values will decline.
However, the precrash twenties market was a bull
market, in which Charlie and others made their for¬
tunes by going long, or buying low and selling high.
Charlie lost money in the stock market crash of Octo¬
ber 1929, but what he lost in the boom—what he sold
short—was his family. He describes what he lost—his
wife and daughter—as “everything I wanted,” yet his
actions and his nostalgia for the past show that his
family was not really all that he wanted.

Charlie first lost his family in the boom, and now
he has lost Honoria—and his honor—again. Dem¬
onstrating sufficient reformation to regain Honoria
would have restored his self-respect. The goals are
intertwined, and he achieves neither of them.

“Babylon Revisited” ends with Charlie Wales
(wails) back in the symbol of Babylon, wallow¬
ing in self-pity. He refuses to relinquish his ties
to the good-bad past, yet he blames others for his
trouble: “they couldn’t make him pay forever” (p.
633). He rationalizes his behavior and encapsulates
the attitude of the decade by reflecting that “the
snow of twenty-nine wasn’t real snow. If you didn’t
want it to be snow, you just paid some money” (p.
633). Just as earlier, after his first meeting with the
Peterses, Charlie had dreamed of Helen praising his
reformation and wanting Honoria to be with him,
at the end he comforts himself by believing that
his dead wife “wouldn’t have wanted him to be so
alone” (p. 633).

ADAPTATIONS

In 1940 Fitzgerald worked on a screenplay for
“Babylon Revisited,” but it was never produced.
The screenplay was published as Babylon Revisited:
The Screenplay in 1993. See “COSMOPOLITAN.”

CHARACTERS

Alix Ritz bartender who tells Charlie Wales what
has happened to all his old friends, and with whom
Charlie leaves his brother-in-law’s address for Dun¬
can Schaeffer.

Paul Head barman at the Ritz in Paris.

Peters, Elsie Daughter of Lincoln and Marion
Peters.

Peters, Lincoln Charlie Wales’s brother-in-law,
who wants Charlie to have custody of Honoria
Wales. Husband of Marion Peters.

Peters, Marion Wife of Lincoln Peters. Marion
distrusts her brother-in-law Charlie Wales because
of how he treated her sister, Helen Wales, and she
resents his prosperity and free spending during a
time when she and her husband were financially
strapped. She refuses to relinquish guardianship
of Charlie’s daughter, Honoria Wales. Based on
Zelda Fitzgerald’s sister Rosalind Sayre Smith,
who thought Fitzgerald was unfit to raise SCOT-
tie Fitzgerald. Fitzgerald told Harold Ober that
“Babylon Revisited” was “founded on a real quarrel
with my sister-in-law” (received January 2, 1931;
As Ever, p. 175).

Peters, Richard Son of Lincoln and Marion
Peters.

Quarries, Lorraine Friend from Charlie Wales’s
days of dissipation. Her drunken arrival at the
home of Charlie’s sister-in-law, Marion Peters,
causes Marion to change her mind about returning
Honoria Wales to Charlie.

Schaeffer, Duncan Friend from Charlie Wales’s
days of dissipation. His drunken arrival at the home
of Charlie’s sister-in-law, Marion Peters, causes her

"Ballet Shoes" 23

to change her mind about returning Honoria Wales
to Charlie.

Wales, Charles J. (Charlie) American business¬
man who lived a dissipated life in Paris during the
boom and returns as a recovering alcoholic to try to
regain custody of his daughter, Honoria.

Wales, Helen Marion Peters’s sister and Charlie
Wales’s dead wife.

Wales, Honoria Charlie and Helen Wales’s
daughter. Charlie unsuccessfully tries to regain
custody of Honoria from his sister-in-law, Marion
Peters. Based on Scottie Fitzgerald.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald. Edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

Baker, Carlos. “When the Story Ends: ‘Babylon Revis¬
ited.’” In The Short Stories of F. Scott Fitzgerald: New
Approaches in Criticism, edited by Jackson R. Bryer
(Madison: University of Wisconsin Press, 1982),
269-277.

Davison, Richard Allan. “Art and Autobiography in
Fitzgerald’s ‘Babylon Revisited.’” In F. Scott Fitzger-
aid: New Perspectives, edited by Jackson R. Bryer,
Alan Margolies, and Ruth Prigozy (Athens: Uni¬
versity of Georgia Press, 2000), 192-202.
Fitzgerald, F. Scott. Babylon Revisited: The Screenplay.
Introduction by Budd Schulberg and afterword by
Matthew J. Bruccoli (New York: Carroll & Graf,
1993).

Gervais, Ronald J. “The Snow of Twenty-nine: ‘Baby¬
lon Revisited’ as ubi sunt Lament,” College Litera¬
ture 7 (Winter 1980), 47-52.

Male, Roy R. “‘Babylon Revisited’: A Story of the
Exile’s Return.” In E Scott Fitzgerald: Comprehen¬
sive Research and Study Guide, edited by Harold
Bloom (Broomall, Penn.: Chelsea House, 1999).
McCollum, Kenneth. “‘Babylon Revisited’ Revisited,”
Fitzgerald/Hemingway Annual (1971), 314-316.
Twitchell, James B. “‘Babylon Revisited’: Chronology
and Characters," Fitzgerald/FIemingway Annual 10
(1978), 155-160.

“Baby Party, The”

Fiction. Written February 1924. Hearst’s INTER¬
NATIONAL 47 (February 1925), 32-37; All the Sad
Young Men.

Two-and-a-half-year-old Ede Andros grabs two-
year-old Billy Markey’s teddy bear at his birthday
party and knocks Billy down twice—once acciden¬
tally and once intentionally. Ede’s mother, Edith
Andros, laughs in response to her child’s laughter,
which angers Mrs. Markey. The women exchange
insults, and their husbands engage in a fistfight.

CHARACTERS

Andros, Ede Two-and-a-half-year-old daughter
of John and Edith Andros. Her grabbing of Billy
Markey’s teddy bear precipitates a fight between
both the children and their parents.

Andros, Edith Ede Andros’s mother, who laughs
at her child’s misbehavior and calls her neighbors
“common.”

Andros, John Edith Andros’s husband, who
fights Joe Markey but makes his wife apologize to
Mrs. Markey.

Markey, Billy Mr. and Mrs. Joe Markey’s two-
year-old son, whose birthday is the occasion of the
baby party.

Markey, Joe Billy Markey’s father, who fights his
neighbor John Andros after their children get into
a tussle and their wives exchange insults.

Markey, Mrs. Joe Billy Markey’s mother, who is
offended by Edith Andros’s laughter and calls Ede
Andros a brat.

“Ballet Shoes”

Movie treatment. “‘Ballet Shoes’: A Movie Syn¬
opsis,” Fitzgerald/Hemingway Annual (1976),
pp. 2-7.

24 "Baltimore Anti-Christ, The"

In 1936 L. G. Braun, manager of ballerina Olga
Spessivtzewa (1895-1991), was in America to
arrange a movie contract with Samuel Goldwyn
(1884-1974). Braun, who had met Fitzgerald dur¬
ing his 1930 trip to NORTH Africa, asked him
to write a screenplay for the ballerina. Fitzgerald
believed that Zelda Fitzgerald’s ballet experi¬
ences provided him with material that would allow
him to “deliver something entirely authentic in the
matter full of invention and feeling” (February 8,
1936; Life in Letters, p. 295; As Ever, p. 248). How¬
ever, the movie treatment called “Ballet Shoes,”
which he wrote in March and which included a
benevolent rum-runner, a “little waif,” and a long-
lost father, was full of coincidence; and it was not
accepted.

“Baltimore Anti-Christ, The”

Review of Prejudices, Second Series by H. L.
Mencken. The Bookman 53 (March 1921), 79-81;
In His Own Time.

Fitzgerald states that “Mencken’s work is inevi¬
tably distinguished” (In His Own Time, p. 120).
He notes Mencken’s enviable literary reputation
and contribution to American literature, and he
wonders what Mencken will do in the next 20 years
after “a success so complete” (p. 121).

“Basil and Cleopatra”

Fiction—Basil Duke Lee story. Written February
1929. The Saturday Evening Post 201 (April
27, 1929), 14-15, 166, 170, 173; Afternoon of an
Author; The Basil and Josephine Stories.

Basil Duke Lee, age 17, and Minnie Bibble are
both visiting friends in Mobile, Alabama, where
Minnie falls in love with Littleboy Le Moyne.
Basil is discouraged because Minnie no longer pre¬
fers him, although she reluctantly kisses him and
invites him to visit her at school. Basil enters Yale
and plays freshman football. He insults Le Moyne
during the Prince ton-Yale game, and Le Moyne

informs him that Minnie has left him for Jubal,
Basil’s classmate. Basil tells Jobena Dorsey about
his relationship with Minnie, and she advises him
not to go back to her. When Minnie is once again
attracted to Basil, he resists the urge to return
to her because he wishes to concentrate on his
ambitions.

Fitzgerald recycled the passage from this story
about Minnie and Littleboy getting into trouble in
a locked train compartment as Collis Clay’s report
to Dick Diver about Rosemary Hoyt and Bill Hillis
in Tender Is the Night.

CHARACTERS

Appleton Yale freshman quarterback whom Basil
Duke Lee replaces when he is injured in the PRINC¬
ETON game.

Bibble, Ermine Gilberte Labouisse (Minnie)

Girl who falls in love with Littleboy Le Moyne, with
whom she gets into trouble in a locked train com¬
partment. Basil Duke Lee regards Minnie as “one
of the immortal sirens of the world” (AOAA, p.
66), but he chooses his ambitions over a return to
Minnie. This character also appears in “He Thinks
He’s Wonderful” and “Forging Ahead.”

Bibble, Mr. and Mrs. Minnie Bibble’s parents,
who are getting a divorce. These characters also
appear in “He Thinks He’s Wonderful” and “Forg¬
ing Ahead.”

Carson Assistant coach of the Yale freshman
football team. He gives Basil Duke Lee an opportu¬
nity to play during football practice.

Cheever, Bessie Belle Girl whom Minnie Bibble
is visiting in Mobile, Alabama.

Dorsey, George Roommate of Basil Duke Lee
and Brick Wales at Yale. This character also appears
in “The Perfect Life.”

Dorsey, Jobena George Dorsey’s sister, who
urges Basil Duke Lee not to return to Minnie

Basil and Josephine Stories, The 25

Bibble. This character also appears in “The Per¬
fect Life.”

Gaspar, William ("Fat") Student whom Basil
Duke Lee visits in Mobile, Alabama, while Minnie
Bibble is in town. This character also appears in
“The Freshest Boy.”

Jubal Basil Duke Lee’s Yale classmate whom Min¬
nie Bibble dates after leaving Littleboy Le Moyne.

Le Moyne, Littleboy Boy with whom Minnie
Bibble, who formerly liked Basil Duke Lee, falls in
love. Fat Gaspar tells Basil about Minnie and Little¬
boy getting into trouble in a locked train compart¬
ment. Basil insults Littleboy while playing against
him in the Yale-Princeton freshman football game.

Lee, Basil Duke See entry for this character
under The Basil and Josephine Stories.

Wales, Brick Basil Duke Lee and George Dors¬
ey’s roommate at Yale. This character also appears
in “The Freshest Boy.”

Basil and Josephine
Stories , The

Story collection. Edited with an introduction by
Jackson R. Bryer and John Kuehl. (New York:
Charles Scribner’s Sons, 1973). Contents: “That
Kind of Party,” “The Scandal Detectives,” “ANight
at the Fair,” “The Freshest Boy,” “He Thinks He’s
Wonderful,” “The Captured Shadow,” “The Per¬
fect Life,” “Forging Ahead,” “Basil and Cleopatra,”
“First Blood,” “A Nice Quiet Place,” “A Woman
with a Past,” “A Snobbish Story,” and “Emotional
Bankruptcy.”

In July 1928 Fitzgerald informed MAXWELL
Perkins that he planned to publish a book of
his Basil Duke Lee stories, which “would make a
nice light novel,” after his novel in progress (Ten¬
der Is the Night) was published ( Life in Letters, p.
158; Scott/Max, p. 152). Six years later, a month

after the publication of TITN, he proposed a vol¬
ume of Basil stories, Josephine Perry stories, and
new stories bringing the characters together as
one of four possible collections for publication in
fall 1934. Though Perkins favored the Basil and
Josephine collection, Fitzgerald decided against
it because he feared that presenting it as a novel
was an artistic risk at a time when he was count¬
ing on the publication of TITN to restore his
reputation as a serious novelist and also because
too much revision would be required (May 15
and 21, 1934; Life in Letters, pp. 259-262; Scott/
Max, pp. 195-200). He chose instead a volume
of previously uncollected stories, Taps at Reveille,
including five Basil stories and three Josephine
stories.

CHARACTERS

Note: Only Basil Duke Lee and Josephine Perry
are discussed here. Other characters are discussed
under the individual stories in which they appear.

Lee, Basil Duke Character in a series of eight
stories written in 1928 and 1929: “The Scandal
Detectives,” “A Night at the Fair,” “The Fresh¬
est Boy,” “He Thinks He’s Wonderful,” “The
Captured Shadow,” “The Perfect Life,” “Forging
Ahead,” and “Basil and Cleopatra.” (See also “That
Kind of Party.”)

His name is taken from Basil Wilson Duke (1838—
1916), the brother-in-law and biographer of Confed¬
erate General John Hunt Morgan (1825-64), who
was the first cousin of Zelda Fitzgerald’s grand¬
mother, Musidora Morgan Sayre; Duke’s biogra¬
phy of Morgan was in Zelda’s parents’ library. Basil
Duke Lee is closely based on Fitzgerald, and many of
the major events in the stories are drawn from auto¬
biographical episodes recorded in Fitzgerald’s Ledger.
The series follows Basil from age 14 through prep
school in the East to his first semester at Yale at age
17. He is imaginative, romantic, “fiercely competi¬
tive” (“A Night at the Fair,” Afternoon of an Author,
p. 21), and ambitious; he dreams of being “a great
athlete, popular, brilliant, and always happy” (“He
Thinks He’s Wonderful,” Taps at Reveille, p. 53).
Throughout the series he struggles for popularity,
success, recognition, and love, gradually maturing

26 Beautiful and Damned, The

until in “Basil and Cleopatra” he is able to relinquish
the beautiful and destructive Minnie Bibble so that
he may pursue his own ambitions.

On October 26, 1938, Fitzgerald wrote to MGM
editor Edwin Knopf proposing a musical about
young people who give an amateur play, using char¬
acters and situations similar to those in “He Thinks
He’s Wonderful,” “The Captured Shadow,” and
“The Perfect Life,” and starring Mickey Rooney
(b. 1920), Judy Garland (1922-69), and Freddie
Bartholomew (1924-92). The Fitzgerald Papers at
Princeton University Library include two pages
of plans for the movie, but the project was not
developed.

Perry, Josephine Character in a series of five
stories written in 1930 and 1931: “First Blood,” “A
Nice Quiet Place,” “A Woman with a Past,” “A
Snobbish Story,” and “Emotional Bankruptcy.”

Josephine, a young woman in Chicago at the
time of World War I, is “an unconscious pioneer
of the generation that was destined to ‘get out of
hand’” (“First Blood,” The Short Stories of F. Scott
Fitzgerald, p. 532) and has a scandalous reputation.
She cares only about “being in love and being with
the person she currently loved” (“A Nice Quiet
Place,” TAR, p. 156). The series follows her from
age 16 to almost 18 through a string of love affairs
in which, with the exception of Dudley Knowl-
eton, she consistently has the upper hand. By the
time she meets the right man in “Emotional Bank¬
ruptcy,” she has used up her emotional capacity
and has nothing left to give him.

Josephine is based on Fitzgerald’s first serious
love, GlNEVRA King, who commented: “I was too
thoughtless in those days & too much in love
with love to think of consequences. These things
he has emphasized—and over-emphasized in the
Josephine stories but it is only fair to say I asked
for some of them” (Ginevra King Pirie to Arthur
Mizener, November 1947; The Far Side of Para¬
dise, p. 327).

The Young and Beautiful (New York: Samuel
French, 1956), a play by Sally Benson (1900-72)
based on the Josephine stories, opened on October
1, 1955, at the Longacre Theatre in New York.

Beautiful and Damned, The

Novel. New York: Charles Scribner’s Sons, 1922;
London: Collins, 1922. Dedication: “TO SHANE
LESLIE, GEORGE JEAN NATHAN AND
MAXWELL PERKINS IN APPRECIATION
OF MUCH LITERARY HELP AND ENCOUR¬
AGEMENT.” Serialized in METROPOLITAN 54-55
(September 1921), 9-12, 55, 60-62, 65; (October
1921), 27-30, 44-49; (November 1921), 31-34,
50-52; (December 1921), 33-36, 50-54; (Janu¬
ary 1922), 39—42, 52-55; (February 1922), 35-38,
44-47; (March 1922), 57-62, 108-109, 112-113.
An excerpt from Book Two, Chapter II appeared in
The Smart Set (February 1922) as “The Far-See¬
ing Skeptics.”

COMPOSITION

Fitzgerald informed Scribners editor Maxwell Per¬
kins on September 18, 1919, that he had begun “a
very ambitious novel called ‘The Demon Lover’”
(Scott/Max, p. 22; Life in Letters, p. 32). By February
3, 1920, he informed Perkins that because of recent
enforcement of obscenity laws, he had “practically
decided” to give up his new novel, now titled “Dar¬
ling Heart,” which involved the seduction of a girl:
“I don’t know what I’ll do now—what in hell is the
use of trying to write decent fiction if a bunch of
old women refuse to let anyone hear the truth!”
(Scott/Max, pp. 27-28).

After the March 1920 publication of This
Side of Paradise and his marriage to Zelda Sayre
[Fitzgerald] on April 3, Fitzgerald rented
a house in WESTPORT, Connecticut, where he
began work on a new plot. On August 12 he
wrote to Charles Scribner II: “My new novel,
called ‘The Flight of the Rocket,’ concerns the
life of one Anthony Patch, between his 25th
and 33d years (1913-1921). He is one of those
many with the tastes and weaknesses of an art¬
ist but with no actual creative inspiration. How
he and his beautiful young wife are wrecked on
the shoals of dissipation is told in the story. This
sounds sordid but it’s really a most sensational
book + I hope won’t dissapoint the critics who
liked my first one” ( Life in Letters, p. 41).

Beautiful and Damned, The 27

Dust jacket for the first edition of Fitzgerald's second novel (1922). (Matthew J. and Arlyn Bruccoli Collection,
University of South Carolina)

By Christmas 1920 the title was “The Beautiful
Lady Without Mercy” (to James Branch Cabell;
Letters, p. 464), and one preliminary title page for
the manuscript includes a canceled epigraph from
JOHN Keats’s “La Belle Dame Sans Merci.” By Feb¬
ruary 1921 Fitzgerald had changed it to “The Beau¬
tiful and Damned” (to ROBERT Clark, February
9, 1921; Life in Letters, p. 46). Other titles on the
title page of his manuscript include “The House of
Pain,” “Misfortune Street,” “O, Beautiful,” “The
Broken Lute,” “The Corruption of Anthony,” “A
Love Affair,” and “Corruption.”

SERIALIZATION

On April 22, 1921, Fitzgerald sent agent HAR¬
OLD Ober a typescript of Part I for serialization
(As Ever, p. 23; see also his April 22 letter to
Carl Hovey, Correspondence, p. 82); Metropolitan
bought the serial rights for $7,000 and published
the novel in seven installments from September

1921 through March 1922. Editor Carl Hovey
(1875-1956) cut the 130,000-word typescript by
40,000 words. When Fitzgerald was considering
serialization of The Great Gatsby, he told Ober, “I
wouldn’t want it to be chopped as Hovey chopped
the Beautiful + Damned” (October 25, 1924; Life
in Letters, p. 83; As Ever, p. 67).

REVISION

Fitzgerald revised the novel for book publication
while living in St. PAUL in summer 1921, following
Zelda’s advice in cutting out the didactic conclu¬
sion of the serial:

That exquisite heavenly irony which has tabu¬
lated the demise of many generations of spar¬
rows seems to us to be content with the moral
judgments of man upon fellow man. If there is a
subtler and yet more nebulous ethic somewhere
in the mind, one might believe that beneath

28 Beautiful and Damned, The

the sordid dress and near the bruised heart
of this transaction there was a motive which
was not weak but only futile and sad. In the
search for happiness, which search is the great¬
est and possibly the only crime of which we in
our petty misery are capable, these two people
were marked as guilty chiefly by the freshness
and fullness of their desire. Their disillusion was
always a comparative thing—they had sought
glamor and color through their respective
worlds with steadfast loyalty—sought it and
it alone in kisses and in wine, sought it with
the same ingenuousness in the wanton moon¬
light as under the cold sun of inviolate chastity.
Their fault was not that they had doubted but
that they had believed.

The exquisite perfection of their boredom,
the delicacy of their inattention, the inex¬
haustibility of their discontent—were disas¬
trous extremes—that was all. And if, before
Gloria yielded up her gift of beauty, she shed
one bright feather of light so that someone,
gazing up from the grey earth, might say,
“Look! There is an angel’s wing!” perhaps she
had given more than enough in exchange for
her tinsel joys.

. . . The story ends here. ( Metropolitan, 55
[March 1922], 113)

Fitzgerald wrote to Perkins about the revision, “I
think that now the finish will leave the ‘taste’ of
the whole book in the reader’s mouth as it didn’t
before” (c. December 16, 1921; Scott/Max, p. 49).

PUBLICATION AND RECEPTION

The Beautiful and Damned was published on March
4, 1922, in a first printing of 20,600 copies at $2.00,
with a dust jacket illustrated by W. E. Hill. Scrib¬
ners’ three 1922 printings totaled 50,000 copies,
and B&D made the best-seller list in Publishers
Weekly for March (10th place), April (sixth), and
May (10th). The novel’s reception was disappoint¬
ing, however, although some critics praised it as an
improvement over TSOP. H. L. Mencken wrote:
“There are a hundred signs in it of serious purpose
and unquestionable skill. Even in its defects there
is proof of hard striving. Fitzgerald ceases to be a

Wunderkind, and begins to come into his matu¬
rity” (“Fitzgerald and Others,” The Smart Set, 67
[April 1922], 140-141; FSF: The Critical Reception,
p. 107).

Zelda Fitzgerald’s review of B&D, “Friend
Husband’s Latest,” was her first professional pub¬
lication. Though the review was partly a joke, she
criticized the novel’s intellectual pretentiousness:
“The other things I didn’t like in the book—I mean
the unimportant things—were the literary refer¬
ences and the attempt to convey a profound air of
erudition. It reminds me in its more soggy moments
of the essays I used to get up in school at the last
minute by looking up strange names in the Ency¬
clopaedia Britannica” (New York Tribune, April 2,
1922, Section 5, p. 11; FSF: The Critical Reception,
p. 111). (See also critical reputation and recep¬
tion OF NOVELS.)

SYNOPSIS

Book One

Chapter 1: Anthony Patch

In 1913, Anthony Patch, age 25, is living in New
York. A year earlier he had returned from a trip
to Rome after his Harvard graduation because of
the illness of his grandfather, millionaire reformer
Adam J. Patch. Anthony had told his grandfather
that he was thinking of writing a history of the
Middle Ages, but he really “did nothing.” His best
friends are fellow Harvard graduates Maury Noble
and aspiring novelist Dick Caramel, with whom he
discusses literature and philosophy.

Chapter II: Portrait of a Siren

Dick Caramel tells Anthony about his beautiful
cousin, Gloria Gilbert [Patch], whom Anthony
finally meets when he invites her and Dick to tea.
Gloria and Anthony have several dates.

Chapter III: The Connoisseur of Kisses

Dick tells Gloria’s mother, Catherine Gilbert,
that he thinks Anthony is in love with Gloria.
Mrs. Gilbert tells Dick that she would like to
see Gloria settle down and tells him about all
the boys who have always flocked around Gloria
and how she has recently begun to go with a
different crowd. Gloria arrives with two friends,

Beautiful and Damned, The 29

Rachael Jerryl [Barnes] and Muriel Kane, whom
Dick considers rather common. Geraldine Burke,
a lower-class girl whom Anthony has dated for a
few months, observes that he drinks all the time.
Gloria hosts a dinner for Muriel, Rachael, Dick,
Maury, Anthony, and Joseph Bloeckman, a film¬
maker who does business with her father and who
wants to marry her. Gloria and Anthony leave
the party for a while, and they kiss. When they
see each other again a few days later, she rebuffs
him when he kisses her more passionately; they
part on bad terms. Anthony desperately realizes
that he is in love with her, but he decides he
should wait several weeks before calling her to
allow time for the unpleasant incident to fade.
After five weeks they begin to go out together
again, and Anthony tells her he loves her.

Cover for the first installment of Fitzgerald's The
Beautiful and Damned, serialized from September 1921
through March 1922. (Bruccoli Collection of F. Scott
Fitzgerald, University of South Carolina)

Book Two

Chapter I: The Radiant Hour

Anthony and Gloria plan to be married in June, but
they quarrel incessantly. They dream of the time
when they will have more money after the death
of Anthony’s grandfather. Dick Caramel’s novel,
The Demon Lover, is published, and his fame almost
overshadows the wedding preparations. Gloria and
Anthony are married at the home of his grandfather,
and they travel to California for their honeymoon.
Anthony discovers that Gloria is “a girl of tremen¬
dous nervous tension and of the most high-handed
selfishness,” and she discovers that he is “an utter
coward toward any one of a million phantasms cre¬
ated by his imagination” (p. 157). They settle in a
gray rental house in Marietta in the New York coun¬
tryside for the summer, returning to Anthony’s New
York apartment for the winter, and going back to
Marietta for the next summer. Gloria’s mother dies.

Chapter II: Symposium

Gloria has “lulled Anthony’s mind to sleep” (p.
191), and they have spent too much money.
Anthony grows tired of Gloria’s dominance of their
relationship, and one night when he is drunk, he
grows angry when she insists they leave the home
of some friends they are visiting. He determines to
gain the upper hand and physically prevents Gloria
from boarding the train she wants; she tells him
that the incident has changed her and that she
knew “what was left of me would always love you,
but never in quite the same way” (p. 202). Adam
Patch offers to send Anthony overseas as a war
correspondent, but Anthony declines. Anthony
and Gloria are living above their income and doing
nothing productive, although Anthony has sold
one essay to a magazine. Joseph Bloeckman offers
to arrange a screen test for Gloria, but Anthony
objects. Anthony and Gloria return to his New
York apartment for the winter, and Anthony takes
a job as a bond salesman at Wilson, Hiemer and
Hardy after his grandfather gives him a letter of
introduction to the company’s president. After
Anthony and Gloria celebrate Anthony’s new job
with a two-day drunken revel with Maury and
Dick, a change comes over their lifestyle: “The
magnificent attitude of not giving a damn altered

30 Beautiful and Damned, The

overnight; from being a mere tenet of Gloria’s it
became the entire solace and justification for what
they chose to do and what consequence it brought.
Not to be sorry, not to loose one cry of regret,
to live according to a clear code of honor toward
each other, and to seek the moment’s happiness
as fervently and persistently as possible” (p. 226).
Anthony quits his job, and they renew their lease
on the Marietta house for the summer by mistake
during a drunken party.

Chapter III: The Broken Lute

Gloria asks Anthony not to drink too much, not
to insist on paying for everything when they’re
out with friends, and not to be so attentive to her
friend Rachael Barnes. Adam Patch, whose tele¬
phone message Anthony has not received, arrives
at their Marietta house in the middle of a drunken
party and leaves in disgust. A week later, Anthony
goes to visit him but is turned away by his secre¬
tary, Edward Shuttleworth, who says that Patch
is not well. Anthony and Gloria return to New
York for the winter but are unable to afford the
increased rent on Anthony’s old apartment. Adam
Patch dies; when Anthony learns that he has been
cut out of the will, he hires a lawyer to contest it.
Despite their worries about money, Anthony and
Gloria continue to squander money on wild parties
every weekend. Anthony’s attempt to write popular
magazine stories fails. Gloria’s father dies. America
declares war on Germany; Anthony’s application
for officers’ training camp is denied because of his
blood pressure, but he is later drafted. Adam Patch’s
will is upheld in court, and Gloria and Anthony file
an appeal.

Book Three

Chapter I: A Matter of Civilization
In October Anthony arrives at Camp Hooker in
South Carolina to begin his military training. He
has an affair with Dot Raycroft, a lower-class girl,
and discourages Gloria from traveling South to
join him. In March his brigade moves to Camp
Boone in Mississippi, and he maintains Dot at a
boardinghouse downtown. Anthony lies about his
name when he is caught returning to camp late,
and he is demoted from corporal and sentenced

to the guardhouse for three weeks. His regiment
is moved to Camp Mills on Long Island just before
the war ends, and he and Gloria are reunited at the
Armistice Ball.

Chapter II: A Matter of Aesthetics

During Anthony’s year in the army, Gloria misses
him, even though they have not gotten along well
for about a year. Rachael Barnes invites her to din¬
ner with two officers, Captain Collins and Captain
Wolf, and Gloria is offended by Captain Collins’s
attentions to her. She is lonely and is discouraged
by Anthony’s apparent reluctance for her to travel
south to join him. When Anthony is discharged
after the war, their relationship has changed and
has become empty, and their concerns about money
have increased. At Gloria’s insistence Anthony
takes a job selling stock in a company that produces
motivational pamphlets called “Heart Talks,” but
he is unable to interest any customers and gets
drunk after one day of trying. The appellate court
upholds Adam Patch’s will, and Anthony and Glo¬
ria file a final appeal. As Gloria approaches her
29th birthday, she determines to make some use
of her beauty and asks Joseph Bloeckman, who has
changed his name to Black, for a screen test. The
director, Percy B. Debris, decides that the part calls
for a younger woman but offers Gloria a small char¬
acter part, which she does not want; she becomes
aware of tiny wrinkles in her face and the tiredness
of her eyes.

Chapter III: No Matter!

Within another year Anthony and Gloria have
moved to another, cheaper apartment, and they
explain to Muriel Kane that they do not see their
old friends because they do not go where they are
not wanted. Anthony, who has resigned from all his
clubs and now frequents a speakeasy called Sam¬
my’s, is drunk every day and hates to be sober. His
bank closes his account because he fails to keep the
required $500 balance, and he and Gloria discover
one Saturday that they have only $2.50 between
them. Anthony goes out to pawn his watch, but
first stops to drink at Sammy’s. When he discovers
that the pawn shops are all closed that night, he
tracks down Joseph Black at a nightclub with the
intention of asking him for a loan, but instead he

Beautiful and Damned, The 31

rebukes Black for keeping Gloria out of the movies
and tells him to leave her alone. Anthony insults
Black, who knocks him down and has him thrown
into the street. A stranger helps Anthony into a
taxi, but when he discovers that Anthony cannot
pay the fare, he knocks him unconscious. Three
weeks later, on the day the trial is to be settled at
last, Dot Raycroft appears at Anthony’s door and
tells him that she still loves him; he blacks out
after trying to throw a chair at her. Gloria and Dick
Caramel later find him going through his childhood
stamp collection, and they tell him he has won the
case and is worth $30 million—but he only threat¬
ens to tell his grandfather if they will not leave.
While sailing to Europe with Gloria a few months
after he gets his money, Anthony, who is “a little
crazy,” reflects on “the hardships, the insufferable
tribulations he had gone through.” He rejoices that
he had refused to “submit to mediocrity” despite
the urging of his friends that he go to work: “I
showed them. ... It was a hard fight, but I didn’t
give up and I came through!” (p. 449).

CRITICAL COMMENTARY

B&D —Fitzgerald’s weakest novel—demonstrates
the common crisis of authors who write a sec¬
ond novel to cash in on the success of a brilliant
first novel. It occupies an interesting position in
his career as a transitional novel that shows him
experimenting with and refining his craft; but if he
had died before writing The Great Gatsby, Fitzger¬
ald would have been merely a footnote in literary
history.

Fitzgerald’s correspondence with Maxwell Per¬
kins about B&D indicates their method of working
together. Perkins was concerned that Maury Noble’s
depiction of the Bible in B&D would be unnecessar¬
ily offensive to readers (December 6, 1924; Scott/
Max, p. 45). Fitzgerald was upset by his objection
and responded with an emotional letter suggest¬
ing Perkins was intimidated by possible opposition
and invoking George Bernard Shaw (1856-1950),
Anatole France, and Mark Twain (c. December
10, 1921; Scott/Max, pp. 46-47). Perkins replied on
December 12: “Don’t ever defer to my judgment.
You won’t on any vital point, I know, and I should
be ashamed, if it were possible to have made you;

for a writer of any account must speak for himself.”
Yet he urged Fitzgerald to realize that he would
“impair the effectiveness of the passage” by making
it flippant and contemptuous (Scott/Max, pp. 47-
48). Fitzgerald apologized, admitting to flippancy
and noting several revisions that he had made (c.
December 16, 1921; Scott/Max, p. 49); and the
revised version was printed in the novel.

As a young writer, Fitzgerald was seeking liter¬
ary models; he was exposed to naturalism through
the writings of Frank Norris, who he told Perkins
had changed his point of view (February 3, 1920;
Scott/Max, p. 28). Naturalism is a form of liter¬
ary realism that emphasizes that human behavior
is determined by forces beyond the control of the
characters—primarily environment and heredity.
For example, after Anthony first kisses Gloria, “It
never occurred to him that he was a passive thing,
acted upon by an influence above and beyond Glo¬
ria, that he was merely the sensitive plate on which
the photograph was made. Some gargantuan pho¬
tographer had focussed the camera on Gloria and
snap! —the poor plate could but develop, confined
like all things to its nature” (pp. 105-106).

B&D was influenced by Theodore Dreiser’s
Sister Carrie (1900) and Charles Norris’s Salt
(1917), as well as Frank Norris’s Vandover and the
Brute (1914). Fitzgerald’s interest in naturalism
was also triggered by H. L. Mencken and George
Jean Nathan. Like his naturalistic novelette “May
Day,” B&D is concerned with character deteriora¬
tion as it traces Anthony Patch’s path from immac¬
ulate intellectual to broken drunk. Naturalism was
uncongenial to Fitzgerald, however, and he did not
persist with the model.

Fitzgerald’s second novel showed structural
advances from the looseness of TSOP, with an
orderly arrangement of three books with three chap¬
ters each, although he still used subtitles to indi¬
cate episodes within chapters. He interrupted the
flow of the main narrative with unnecessary stories,
such as the bit about the Japanese servant Tana,
and passages of philosophizing. The novel is told
by an omniscient authorial voice, but Fitzgerald’s
ambivalence toward his characters—fluctuating
from approval to contempt—creates problems with
point of view. The author intrudes with analysis,

32 Beautiful and Damned, The

soliloquies, and direct addresses to the reader—a
narrative manner welcomed by Fitzgerald’s short-
story readers, but lacking the discipline required
for novels. The advance in narrative control from
B&D to GG is astounding.

Fitzgerald’s inconsistent attitude toward Anthony
and Gloria may result partly from the autobiographi¬
cal nature of much of his material for the novel.
Like the Patches, the Fitzgeralds’ life of drinking and
parties was reckless, and they struggled with money.
Fitzgerald judged himself through his depictions of
both Anthony and writer Dick Caramel, and Glo¬
ria was pardy based on Zelda. In the summer of
1930, Fitzgerald wrote to Zelda, “I wish the Beauti¬
ful and Damned had been a maturely written book
because it was all true. We ruined ourselves—I have
never honestly thought that we ruined each other”
(Life in Letters, p. 189). A decade later, though, he
downplayed the connections, writing to his daugh¬
ter, Scottie Fitzgerald: “Gloria was a much more
trivial and vulgar person than your mother. I can’t
really say there was any resemblance except in the
beauty and certain terms of expression she used, and
also I naturally used many circumstantial events of
our early married life. Flowever the emphases were
entirely different. We had a much better time than
Anthony and Gloria had” (June 14,1940; Life in Lex¬
ters, p. 453).

The connection between Zelda and Gloria raises
an important issue. In her review of B&D, Zelda
asserted: “It seems to me that on one page I rec¬
ognized a portion of an old diary of mine which
mysteriously disappeared shortly after my marriage,
and also scraps of letters which, though consider¬
ably edited, sound to me vaguely familiar. In fact,
Mr. Fitzgerald—I believe that is how he spells his
name—seems to believe that plagiarism begins
at home” (“Friend Husband’s Latest,” New York
Tribune, April 2, 1922, Section 5, p. 11; F. Scott
Fitzgerald: The Critical Reception, p. 111).

In light of the Fitzgeralds’ later competition
over their use of shared experiences in their writ¬
ing (particularly in Tender Is the Night and Zelda’s
novel Save Me the Waltz), as well as the charges
some have made that Zelda was her husband’s
unacknowledged collaborator, this issue must be
examined. Zelda did not claim in her review that

she collaborated on B&D —only that her husband
used bits of her diary and letters in it, which is true.
In addition, he later incorporated material from her
letters in TITN. His use of fragments of her writ¬
ing, however, falls far short of collaboration. None
of his surviving manuscripts bears her handwrit¬
ing, although her manuscripts show his revisions.
Zelda served as a model for many of Fitzgerald’s
characters, and he trusted her literary judgment
and frequently acted on her critiques of his work.
She played an important role, but she was not his
collaborator.

ADAPTATION

Fitzgerald sold the film rights to B&D to Warner
Brothers for $2,500, but he was disappointed with
the 1922 movie. He wrote to OSCAR Kalman: “Its
by far the worst movie I’ve ever seen in my life—
cheap, vulgar, ill-constructed and shoddy. We were
utterly ashamed of it” (after December 10, 1922;
Correspondence, p. 119).

CHARACTERS AND RELATED TOPICS
Allison, Parker Acquaintance whom Anthony
Patch meets at Sammy’s bar.

Baird, Tudor An old beau with whom Gloria
Patch spends time while her husband, Anthony
Patch, is away in the army. Baird is killed in a plane
crash.

Baptiste A Sicilian immigrant in Anthony Patch’s
army company. He is assigned to learn blacksmith-
ing despite his fear of horses, and he dies when a
horse crushes his skull.

Barley A man who liked Gloria Gilbert [Patch]
and fought Percy Wolcott.

Barnes, Rachael Jerryl Gloria Patch’s friend,
to whom Anthony Patch is excessively attentive
at the party which his grandfather, Adam Patch,
interrupts.

Barnes, Rodman Rachael Barnes’s husband, a
captain in the Quartermaster Corps.

Beautiful and Damned, The 33

Lobby card for the 1922 silent movie. (Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina)

Bilphism Religion based on reincarnation which
Fitzgerald invented as a parody of theosophy; in
The Beautiful and Damned Catherine Gilbert is a
Bilphist. In 1922 Fitzgerald explained to Dr. Frank
H. Vizetelly, editor of the Funk and Wagnall’s Stan¬
dard Dictionary: “Bilphism is a coinage of my own. It
is a euphemism for Theosophy—I wanted to take a
crack at theosophy without hurting the feelings of a
relative of mine. Several people have inquired about
it. So I guess it will enter no dictionary” (F. Scott
Fitzgerald Collection Notes, No. 1, September 1995).

Bloeckman, Joseph Jewish filmmaker who does
business with Gloria Gilbert Patch’s father. He
wants to marry Gloria and offers to put her in the
movies. He is a little more dignified and refined
each time Anthony Patch and Gloria encounter
him after their marriage, and he changes his last

name to Black. He arranges a screen test for Glo¬
ria at her request shortly before her 29th birth¬
day, but the director decides the role in question
requires a younger actress. When Anthony needs
money he tracks down Black at a nightclub, where
Anthony tells him to leave Gloria alone and
insults him; Black knocks him down and has him
thrown out.

Bounds Anthony Patch’s English servant.

Brett, Mr. Adam Patch’s lawyer, who informs
Anthony Patch that he was cut out of his grand¬
father’s will.

Burke, Geraldine A lower-class girl whom
Anthony Patch dates before his engagement to
Gloria Gilbert [Patch].

34 Beautiful and Damned, The

Cable An usher at Anthony and Gloria Patch’s
wedding.

Camp Boone Fictional army base in Mississippi
to which Anthony Patch’s brigade is transferred
from South Carolina and where he is demoted
after lying when he is caught returning to camp
late.

Camp Hooker Fictional army base in South Caro¬
lina where Anthony Patch is first stationed for train¬
ing after being drafted. While stationed there he has
an affair with Dot Raycroft, a lower-class girl.

Caramel, Richard (Dick) Gloria Gilbert Patch’s
cousin; one of Anthony Patch’s best friends. He
works in the New York slums for a year after grad¬
uating from Harvard, where he was editor of the
Harvard Crimson. He then works as a reporter for
The Sun before beginning his first novel, The Demon
Lover. After the success of his novel, he lowers his
standards to turn out stories that can be made into
movies.

Carleton, Sammy Author of motivational pam¬
phlets called “Heart Talks,” which have been incor¬
porated as a company for which Anthony Patch
briefly tries to sell stock.

Carstairs, Bill A former beau of Gloria Gilbert
[Patch].

Collins, Captain Army officer whom Gloria Patch
meets at Rachael Barnes’s apartment. She is sur¬
prised to find she is expected to spend the night with
him, and she leaves in disgust.

Crawford, Mr. Man whose phone call for Gloria
Patch is answered by Anthony Patch, who has just
returned from the army.

Debris, Percy B. Movie director who gives Glo¬
ria Patch a screen test at the request of Joseph
Black [Bloeckman] but who decides the role in
question calls for a younger actress.

Donnelly, Pop Anthony Patch’s platoon sergeant.

Dunning, Captain Army officer who promotes
Anthony Patch to corporal.

Ellinger, Mr. First vice-president at Wilson,
Hiemer and Hardy, where Anthony Patch briefly
works as a bond salesman.

Fielding, Cyrus Young man with whom Dot Ray-
croft once had a brief affair.

Gilbert, Catherine Gloria Gilbert Patch’s mother,
an adherent of a religion called Bilphism. She dies
in December after Gloria’s marriage in June.

Gilbert, Russel Gloria Gilbert Patch’s father and
supervising manager of the Associated Mid-West-
ern Film Materials Company. He dies in 1917.

Granby, Mr. and Mrs. Alec A couple who stop
phoning Anthony and Gloria Patch after Alec is
too attentive to Gloria at a party.

Haight, Mr. Lawyer whom Anthony Patch hires
to break his grandfather Adam Patch’s will.

Halloran Bank manager who informs Anthony
Patch that the bank will have to close his account
because he has failed to maintain the required $500
balance.

Holcome, Stuart Former beau of Gloria Gilbert
[Patch] who had run away with her in his car and
tried to make her marry him.

Hopkins, Lieutenant A pompous officer in
Anthony Patch’s army company.

Howland, Mr. Anthony Patch’s broker.

Hull, Joe A man whom Richard Caramel and
Maury Noble bring to Anthony and Gloria Patch’s
house and who comes to Gloria’s bedroom door
drunk, causing her to run outside in the night.

Kahler Self-important assistant secretary at Wil¬
son, Heimer and Hardy, where Anthony Patch
briefly works as a bond salesman.

Beautiful and Damned, The 35

Kane, Muriel A vampish friend of Gloria Patch
who constantly sways to any music she hears and
who is a bridesmaid at Gloria’s wedding. She works
for the Red Cross during the war.

Kretching, Lieutenant A popular officer who
drills Anthony Patch’s army company.

Lacy, Mr. and Mrs. A wild young couple at
whose house drunken Anthony and Gloria Patch
stumble over empty milk bottles.

Larrabee, Ceci Philadelphia millionairess whom
Maury Noble is going to marry.

Lytell, Pete An acquaintance whom Anthony
Patch meets at “Sammy’s.”

Marietta, New York Fictional town in the New
York countryside where Anthony and Gloria Patch
rent a house in the summertime. Based on WEST-
PORT, Connecticut.

McGovern, Miss Gloria Patch’s trained nurse
while she has flu and double pneumonia.

Merriam, Constance Shaw and Eric Friends of
Anthony and Gloria Patch.

Noble, Maury Anthony Patch’s Harvard class¬
mate and one of his best friends. A cynic who
believes there is “no ultimate goal for man” (p.
255). He snubs Anthony after Anthony becomes
poor. Based on George Jean Nathan.

Otis An usher at Anthony and Gloria Patch’s
wedding.

Paramore, Frederick E. Anthony Patch’s Har¬
vard classmate, a social worker who gets drunk
at the party which Anthony’s grandfather, Adam
Patch, interrupts. A caricature of E. E. PARAMORE.

Patch, Adam J. Anthony Patch’s millionaire
grandfather, a reformer known as “Cross Patch,”
from whom Anthony expects to inherit a fortune.

He disinherits Anthony after unexpectedly inter¬
rupting a drunken party at Anthony’s house. After
Patch’s death Anthony hires a lawyer to break the
will; but by the time he wins the case on the second
appeal, Anthony is a broken man.

Patch, Adam Ulysses Anthony Patch’s father,
who dies when Anthony is 11 years old.

Patch, Alicia Withers Anthony Patch’s grand¬
mother, who dies by the time he is 11.

Patch, Anthony Comstock After the death of
his mother, Henrietta Lebrune Patch, when he is
five, Anthony and his father, Adam Ulysses Patch,
live with his grandfather, Adam J. Patch; his father
dies when Anthony is 11. From ages 14 through 16,
Anthony travels in Europe with a private tutor. He
then enters Harvard, where he is something of a
loner until his senior year when he begins going out
and drinking quietly. In 1912 he returns from a trip
to Rome because of his grandfather’s illness and
settles in an apartment in New York.

He marries beautiful Gloria Gilbert [Patch], and
they live a life of leisure and wild parties, expecting
to become wealthy when his grandfather dies. As
they gradually sell bonds to finance their lifestyle
they become poorer and poorer, yet Anthony makes
only brief efforts to earn a living. He is disinher¬
ited after his grandfather unexpectedly interrupts
a drunken party at his house, and Anthony hires
a lawyer to break the will. As he awaits the settle¬
ment of the case, he continues to spend money
recklessly and drinks more and more.

When the United States declares war on Ger¬
many, Anthony is drafted and sent to Camp
Hooker in South Carolina, where he has an affair
with Dot Raycroft, a lower-class girl. The war ends
before he is sent overseas, and he and Gloria are
reunited, but their relationship is empty. They
become poorer and poorer, and Anthony, who has
resigned from all his old clubs and now frequents a
speakeasy called Sammy’s, is drunk every day and
hates to be sober. By the time the trial is settled in
his favor on the second appeal, he is broken in body
and mind. He and Gloria sail to Europe, and ironi¬
cally he rejoices that he had refused to “submit to

36 Beautiful and Damned, The

mediocrity” despite the urging of his friends that he
go to work: “I showed them.... It was a hard fight,
but I didn’t give up and I came through!” (p. 449).

Patch, Gloria Gilbert A beautiful Kansas City
girl who marries Anthony Patch and contributes to
his decline by their extravagant lifestyle. “She had
been, probably, the most celebrated and sought-
after beauty in the country” (p. 81), but her beauty
fades as she grows older: “She was being bent
by her environment into a grotesque similitude
of a housewife” (p. 424). Partly based on Zelda
Fitzgerald.

Shuttleworth, Edward Adam Patch’s secre¬
tary, the executor of his estate, and recipient of his
largest bequest. He shoots himself when Anthony
Patch successfully contests his grandfather’s will
after two appeals.

Tana (Tanalahaka) Anthony and Gloria Patch’s
talkative Japanese servant at their house in Mar¬
ietta. Maury Noble pretends that Tana is really
a German agent named Tannenbaum and sends
him mysterious letters; this episode was based on
George Jean Nathan’s joke about the Fitzgeralds’
Japanese servant, Tana.

Patch, Henrietta Lebrune Anthony Patch’s
mother, “the Boston Society Contralto,” who dies
when he is five years old.

Raycroft, Dorothy (Dot) A lower-class South¬
ern girl with whom Anthony Patch has an affair
while he is in the army. Her reappearance on the
day the trial concerning Adam Patch’s will is to be
settled precipitates Anthony’s collapse.

Sammy (Samuele Bendiri) Proprietor of a
speakeasy which Anthony Patch frequents after
resigning from his prestigious clubs.

Still photo from the 1922 silent movie version of
The Beautiful and Damned, starring Marie Prevost
and Kenneth Harlan. (Bruccoli Collection of F. Scott
Fitzgerald, University of South Carolina)

Weatherbee, Percy B. An architect to whom
Anthony Patch unsuccessfully tries to sell stock in
“Heart Talks” pamphlets.

Wolcott, Percy Former beau whom Gloria Gil¬
bert [Patch] pushed off an embankment when he
became too intimate.

Wolf, Captain An army officer who spends the
night with Rachael Barnes while her husband is
away.

FURTHER READING

Quotations are from the first edition (New York:
Scribner, 1922).

Cumutt, Kirk. “Youth Culture and the Spectacle of
Waste: This Side of Paradise and The Beautiful and
Damned.” In F. Scott Fitzgerald in the Twenty-first
Century, edited by Jackson R. Bryer, Ruth Prigozy,
and Milton R. Stem (Tuscaloosa: University of
Alabama Press, 2003), 79-103.

Elias, Amy J. “The Composition and Revision of
Fitzgerald’s The Beautiful and Damned." Princ¬
eton University Library Chronicle 51 (Spring 1990):
245-266.

Fitzgerald, F. Scott. F. Scott Fitzgerald Manuscripts II:
B&D: The Manuscript, edited by Matthew J. Bruc¬
coli (New York & London: Garland, 1990).
Goldhurst, William. “H. L. Mencken.” In F. Scott
Fitzgerald and His Contemporaries (Cleveland; New
York: World, 1963).

"Bernice Bobs Her Hair" 37

Nowlin, Michael. “Mencken’s Defense of Woman and
the Marriage Plot of The Beautiful and Damned." In
F. Scott Fitzgerald in the Twenty-first Century, edited
by Jackson R. Bryer, Ruth Prigozy, and Milton R.
Stern (Tuscaloosa: University of Alabama Press,
2003), 104-120.

“Benediction”

Fiction. Written October 1919. The Smart Set 61
(February 1920), 35-44; Flappers and Philosophers.

On her way to meet her lover, Howard, Lois
stops at a Jesuit seminary to visit her brother, Kieth,
whom she has not seen since she was a little girl.
They discuss their mother, who has suffered a ner¬
vous breakdown, and Kieth explains his decision
to enter the priesthood. During the Benediction
service which she attends with Kieth, Lois is fright¬
ened by a presence that she senses in the candle
flame, and she faints. Afterward she tells Kieth how
inconvenient Catholicism is, and he reveals how he
has idealized her. After leaving the seminary, Lois
writes a farewell telegram to Howard, then changes
her mind and tears it up.

“Benediction” incorporates material from a
1915 story, “The Ordeal,” from which Fitzgerald
transferred the Jesuit novice’s experience with the
candle to Lois.

CHARACTERS

Howard Lois’s lover, whom she is traveling to
meet when she stops to visit her brother, Kieth.

Jarvis One of Kieth’s friends at the seminary.

Jimmy One of Kieth’s friends at the seminary.
He wants Lois to demonstrate the shimmy.

Kieth Lois’s older brother, who has been prepar¬
ing for the priesthood for 17 years and who has
idealized his sister.

Lois Girl who visits her older brother, Kieth, at a
seminary and almost decides to give up her lover,
Howard.

Regan Kieth’s best friend at the seminary.

“Bernice Bobs Her Hair”

Fiction. Written January 1920. The Saturday Eve¬
ning Post, 192 (May 1, 1920), 14-15, 159, 163,
167; Flappers and Philosophers.

Bernice, pretty but boring, is visiting her cousin,
Marjorie Harvey, whom she overhears discussing
her unpopularity. At Bernice’s request, Marjorie
agrees to instruct her in the art of popularity, which
she does with great success. Bernice’s best-known
line is her often-announced intention of bobbing
her hair—a shocking thing that nice girls didn’t do.
When Marjorie’s beau, Warren McIntyre, becomes
interested in Bernice, Marjorie stops helping Ber¬
nice and spitefully announces that Bernice’s line
about bobbing her hair is a bluff. Bernice reluc¬
tantly goes through with the haircut, which spoils
her beauty. When she learns that her hostess for
the following evening regards bobbed hair as an
abomination, she resolves to return home early.
Just before leaving town, she cuts off the sleeping
Marjorie’s long blond braids, which she tosses into
Warren McIntyre’s yard.

CRITICAL COMMENTARY

“Bernice Bobs Her Hair” was Fitzgerald’s first story
to achieve national prominence, and it inspired the
dust jacket illustration for Flappers and Philosophers.
It is noteworthy as an early exploration of a charac¬
teristic Fitzgerald subject: young people’s—especially
young women’s—struggle for social success and the
seriousness of their competition. When Marjorie’s
mother asks with annoyance, “What’s a little cheap
popularity?” Marjorie explains emphatically, “It’s
everything when you’re eighteen” (p. 30).

As he so often does, Fitzgerald sets the stage by
alerting readers that he will provide the insider’s
view. The “critical circle” of middle-aged ladies at the
country club dance “is not close enough to the stage
to see the actors’ faces and catch the subtler byplay,”
but Fitzgerald will give an “unobstructed view” of
the real story (p. 26), describing the emotions and
recounting the private as well as public conversations
of the characters. He will investigate “the drama of
the shifting, semicruel world of adolescence” (p. 26)
that the older generation does not appreciate.

38 "Bernice Bobs Her Hair'

Illustration for "Bernice Bobs Her Hair" in The Saturday Evening Post (May 1, 1920). (Bruccoli Collection of F. Scott
Fitzgerald, University of South Carolina)

Although she is pretty, Bernice is a social
disaster—a poor conversationalist with whom
men get stuck at dances because no one cuts
in voluntarily. Her remarks are confined to the
dance, the weather, her car, or her school—top¬
ics Fitzgerald had instructed his sister to avoid.
Her wealthy family boosts her comparative social
success in her hometown, so she is bewildered
at her unpopularity on her visit. Fitzgerald attri¬
butes this to the fact that “she had been brought
up on the warm milk prepared by Annie Fellows
Johnston,” author of sentimentally wholesome
novels that emphasized “certain mysterious wom¬
anly qualities” (p. 30). Bernice is shocked when
Marjorie informs her that Louisa May Alcott’s
Little Women, which Bernice regards as “the mod¬
els for our mothers,” is “out of style” (p. 33), and
Marjorie agrees to instruct Bernice in modern
strategies for popularity.

Fitzgerald noted that a long letter of instruc¬
tions to his sister, Annabel Fitzgerald, was the
basis for this story (see Life in Letters, pp. 7-10).
His real-life advice in the areas of conversation,
poise, carriage, dancing, facial expression, grace,
dress, and personality is reflected in the fictional
details of Marjorie’s tutelage of Bernice—even in
such minutiae as grooming her eyebrows. Fitzgerald
instructed Annabelle, “Dress scrupulously neatly
and then forget your personal appearance” (Life in
Letters, p. 10). Likewise, Marjorie explains to Ber¬
nice that she lacks ease of manner because she is
never sure about her personal appearance: “When
a girl feels that she’s perfectly groomed and dressed
she can forget that part of her. That’s charm. The
more parts of yourself you can afford to forget the
more charm you have” (p. 35).

Bernice, though initially reluctant, proves to be
a fast learner. At the first dinner-dance where she

"Bernice Bobs Her Hair" 39

implements her training, Bernice falters briefly, but
successfully carries off her new “line” and really has
a good time. As she drifts off to sleep that night, she
has “a rebellious thought” that “after all, it was she
who had done it,” not Marjorie (p. 39). This is an
early signal that Bernice may not be quite such a
compliant, submissive student as Marjorie—and the
reader—expects.

The success of the succeeding week gives her
a “foundation of self-confidence” (p. 39), despite
the inevitable mistakes. In fact, Bernice blossoms
under Marjorie’s training to such an extent that
Marjorie’s best beau, Warren McIntyre, shifts his
attentions to Bernice. Although Bernice is initially
“incapacitated” (p. 41) by the envious Marjorie’s
public accusation that her announced intention to
bob her hair is a bluff, she quickly realizes that
“this was the test supreme of her sportsmanship;
her right to walk unchallenged in the starry heaven
of popular girls” (p. 42).

In the barber’s chair, which seems like a guil¬
lotine to Bernice, “there was a curious narrowing
of her eyes that Marjorie remarked on to some one
long afterward” (p. 43). The bobbing of her hair
robs Bernice of her beauty, and Warren returns
to Marjorie. When Bernice learns from her aunt
that her hostess the next night is a vocal oppo¬
nent of bobbed hair, she realizes that Marjorie has
set an “outrageous trap” (p. 44) for her. Marjorie’s
apology is not very convincing, and Bernice real¬
izes that “her chance at beauty had been sacrificed
to the jealous whim of a selfish girl” (p. 45). The
stakes in this game are high, and the players are
ruthless.

Preparing to leave town early, in the middle of
the night, Bernice flashes an expression reminis¬
cent of her look in the barber’s chair: “It was quite a
new look for Bernice, and it carried consequences”
(p. 46). She amputates Marjorie’s braids and runs
down the street, laughing exuberantly. Bernice’s
newfound self-confidence has taken an unexpected
turn, and the story ends with the tricker tricked.

ADAPTATIONS

D. D. Brooke wrote a one-act play based on
Fitzgerald’s story (Chicago: The Dramatic Pub¬

lishing Company, 1982). Joan Micklin Silver (b.
1935) adapted Fitzgerald’s story for a television
movie produced by Learning in Focus, 1977; her
screenplay was published in The American Short
Story, edited by Calvin Skaggs (New York: Dell,
1977).

CHARACTERS

Bernice Boring young girl whose cousin, Marjo¬
rie Harvey, teaches her how to be popular.

Demorest, Ethel Jim Strain’s fiancee, who won’t
marry him until he can hold down a job.

Deyo, Draycott Ministerial student whom Ber¬
nice shocks with a bathtub story.

Deyo, Mrs. Draycott Deyo’s mother, who
regards bobbed hair as an abomination and who is
hosting a dance the day after Bernice has her hair
bobbed.

Harvey, Josephine Marjorie Harvey’s mother
and Bernice’s aunt.

Harvey, Marjorie Bernice’s cousin, who gives
her lessons in popularity until she becomes jealous
of Warren McIntyre’s interest in Bernice. Marjorie,
who is determined to succeed socially and is unwill¬
ing to be upstaged by her cousin, then spitefully
reveals that Bernice’s line about bobbing her hair
is a bluff, causing Bernice to go through with the
haircut.

McIntyre, Warren Marjorie Harvey’s beau, who
becomes interested in Bernice.

Ormonde, Otis Boy who is stuck with Ber¬
nice at a dance but is later smitten with her and
who inadvertently precipitates the bobbing of her
hair.

Paulson, Charley Young man sitting next to
Bernice at the dinner party during which she first
announces that she plans to bob her hair.

Stoddard, G. Reese Lawyer and eligible bachelor.

40 "Between Three and Four"

Strain, Jim Ethel Demorest’s fiance, who can’t
keep a job.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

Beegel, Susan F. ‘“Bernice Bobs Her Hair’: Fitzgerald’s
Jazz Elegy for Little Women." In New Essays on F.
Scott Fitzgerald’s Neglected Stories, edited by Jack-
son R. Bryer (Columbia: University of Missouri
Press, 1996), 58-73.

Bruccoli, Matthew J. “On F. Scott Fitzgerald and ‘Ber¬
nice Bobs Her Hair.’” In The American Short Story,
edited by Calvin Skaggs (New York: Dell, 1977),
219-222.

“Between Three and Four”

Fiction. Written June 1931. The SATURDAY EVE¬
NING Post 204 (September 5, 1931), 8-9, 69, 72;
The Price Was High.

During the Depression Sarah Belknap Summer
asks Howard Butler to give her a job six months
after he fired her. Butler still resents that she
refused to marry him 30 years ago and does not
want to rehire her, but he tells her to come back
in a week. She says she will probably jump out of
a ninth-floor window if he does not have a job for
her then. When she returns, he refuses to see her,
and later that afternoon he hears that a woman
jumped out of a ninth-story window. He believes
he sees Mrs. Summer identified as the victim in
the newspaper, and he convinces himself that her
ghost is returning to his office every afternoon.
After he jumps to his death from his own office
window, it is revealed that it was not Mrs. Summer
who had died and that she has twice been in his
office, alive, when he thought she was a ghost.

CHARACTERS

Butler, Howard Man who fires and refuses
to rehire Sarah Belknap Summer, whom he had
wished to marry 30 years before.

Eddington, George Howard Butler’s employer,
who plans to fire him for firing Sarah Summer on
his own whim.

Muller, Mr. Less competent employee whom
Howard Butler had temporarily retained when he
fired Sarah Summer.

Rousseau, Miss Substitute secretary at Howard
Butler’s office during Miss Wiess’s vacation.

Summer, John Sarah Summer’s deceased husband.

Summer, Sarah Belknap Woman who asks
Howard Butler to rehire her and who he later mis¬
takenly thinks commits suicide.

Thomas, Mrs. Illiterate cleaning woman whom
Howard Butler asks to confirm what he thinks he
has read in the newspaper about Sarah Summer’s
suicide.

Wiess, Miss Secretary at Howard Butler’s office.

Bits of Paradise:

21 Uncollected Stories by
F. Scott and Zelda Fitzgerald

Story collection. Selected by SCOTTIE FITZGERALD
Smith and MATTHEW J. BRUCCOLI, with foreword
by Smith and preface by Bruccoli. London: Bodley
Head, 1973; New York: Charles SCRIBNER’S Sons,
1974. Contents: “The Popular Girl” (FSF), “Love
in the Night” (FSF), “Our Own Movie Queen”
(FSF & ZF), “A Penny Spent” (FSF), “The Dance”
(FSF), “Jacob’s Ladder” (FSF), “The Swimmers”
(FSF), “The Original Follies Girl” (ZF), “The
Southern Girl” (ZF), “The Girl the Prince Liked”
(ZF), “The Girl with Talent” (ZF), “A Millionaire’s
Girl” (ZF), “Poor Working Girl” (ZF), “The Hotel
Child” (FSF), “A New Leaf’ (FSF), “Miss Ella”
(ZF), “The Continental Angle” (ZF), “A Couple of
Nuts” (ZF), “What a Handsome Pair!” (FSF), “Last
Kiss” (FSF), “Dearly Beloved” (FSF).

"Book of One's Own, A" 41

Bodley Head Scott
Fitzgerald, The

6 vols. London: Bodley Head, 1958-63. Contents:
I (1958): The Great Gatsby, The Last Tycoon,
“May Day,” “The Diamond as Big as the Ritz,”
“The Crack-Up,” “Handle With Care,” “Pasting
It Together,” “Crazy Sunday”; II (1959): “Echoes
of the Jazz Age,” “My Lost City,” “Ring,” “Early
Success,” Letters to Frances Scott Fitzgerald, Ten¬
der Is the Night (original version), “The Last of
the Belles,” “A Patriotic Short,” “Two Old-Tim¬
ers,” “An Alcoholic Case,” “Financing Finnegan”;
III (1960): This Side of Paradise, “The Cut-Glass
Bowl,” “The Curious Case of Benjamin Button,”
“The Lees of Happiness,” “The Rich Boy,” “The
Adjuster,” “Gretchen’s Forty Winks”; IV (1961):
The Beautiful and Damned, “The Rough Crossing,”
“Babylon Revisited”; V & VI (1963): Adds 12 sto¬
ries to Cowley’s The Stories of F. Scott Fitzgerald
(1951): “The Jelly Bean,” “A Short Trip Home,”
“The Bowl,” “Outside the Cabinet-Maker’s,” “Maj¬
esty,” “A Night at the Fair,” “He Thinks He’s
Wonderful,” “First Blood,” “One Trip Abroad,”
“Design in Plaster,” ‘“Boil Some Water—Lots of
It,”’ “Teamed with Genius.”

“ ‘Boil Some Water—

Lots of It’ ”

Fiction—Pat Hobby story. Submitted September
21, 1939. Esquire 13 (March 1940), 30, 145, 147;
Afternoon of an Author; The Pat Hobby Stories.

Pat Hobby is employed to polish the script for a
medical movie, and he takes nurse Helen Earle to
lunch to ask her some questions. While they are
in the studio commissary, writer Walter Herrick,
disguised as a Russian Cossack, creates a commo¬
tion by attempting to join the powerful men at the
Big Table. Hobby, outraged by the Cossack’s impu¬
dence and by the inaction of the others, assaults
the Cossack with a tray before his real identity is
discovered.

CHARACTERS

Earle, Helen Nurse whom Pat Hobby takes
to lunch at the studio commissary. She tends to
Walter Herrick after Hobby assaults him with a
tray.

Harman, Ned Production manager who tells
Walter Herrick, dressed as a Cossack, that the Big
Table in the studio commissary is reserved.

Herrick, Walter Writer who dresses as a Russian
Cossack and sits down at the Big Table in the stu¬
dio commissary as a joke on Max Learn. Pat Hobby
hits Herrick over the head with a tray.

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Leam, Max Producer who hires Pat Hobby for
a three-week polish job. Writer Walter Herrick,
dressed as a Russian Cossack, plays a joke on Leam
by attempting to join the powerful men seated at
the Big Table in the studio commissary.

Paterson, Director Walter Herrick, dressed as
a Cossack, sits down next to Paterson at the Big
Table in the studio commissary.

Wilson, Big Jack Director who is heading for
Walter Herrick, dressed as a Cossack, when Pat
Hobby assaults Herrick with a tray.

“Book of One’s Own, A”

Humor article. The New Yorker 13 (August 21,
1937), 19; In His Own Time.

Humorous prospectus for a “super-anthology
that over a single weekend should make the con¬
scientious reader as nearly omniscient as a man
can be” (In His Own Time, p. 237). One sam¬
ple chapter includes “Memoirs of a Statistician
(Cond.), Cath. Index, Readers’ Digest (Cond.),
Sorrows of Grand Dukes (Compressed), Orph.
Annie (Selects.), Scenario Writing, quick course,

42 "Bowl, The"

Elements of Brewing, Familiar Quots., Apostles’
Creed” (p. 237).

“Bowl, The”

Fiction. Written November 1927. The SATURDAY
Evening Post 200 (January 21,1928), 6-7, 93-94,
97, 100; The Bodley Head Scott Fitzgerald; The Price
Was High.

Jeff Deering tells the story of his PRINCETON
roommate, Dolly Harlan, a good football player
who hates the game but feels a moral responsibility
to follow through on his commitment to play. In the
Yale game, Dolly feels that the Yale Bowl is closing
in on him; however, he plays well, and Princeton
beats Yale for the first time in three years. After
the game, Dolly meets and falls in love with Vienna
Thorne, who does not mention the game because
her brother was killed in a prep-school football
game. When they become engaged the next year,
Vienna convinces Dolly not to play football that
fall. Dolly breaks his ankle, which gives him an
excuse not to play, but as the season progresses, he
feels a sense of responsibility and rejoins the team,
causing Vienna to break off their relationship.
After a tie game with Yale, he becomes interested
in actress Daisy Cary, who shares his dedication to
work despite illness or injury.

Except for two Basil Duke Lee stories with foot¬
ball scenes, “The Bowl” is Fitzgerald’s only pro¬
fessionally published football story. Work on “The
Bowl” rekindled his interest in Princeton football.
THOMAS B. Costain, an editor at the Saturday Eve¬
ning Post, reported to HAROLD Ober that the Post
felt that Fitzgerald had “got the real spirit of the
game as it has perhaps never been done before” (As
Ever, p. 104).

CHARACTERS

Cary, Daisy A young movie actress in whom
Dolly Harlan becomes interested. Based on LOIS
MORAN, she is a preliminary sketch for Rosemary
Hoyt in Tender Is the Night. Both Daisy and Rose¬

mary are required, in their acting jobs, to fall into a
lagoon repeatedly despite having colds.

Deering, Jeff Narrator of “The Bowl.” Dolly
Harlan’s roommate at Princeton.

Harlan, Dolly Princeton football player who
hates the game and temporarily gives it up at the
insistence of his fiancee, Vienna Thorne, but feels
a sense of responsibility to return to the game and
help his team.

Pickman, Josephine Vienna Thorne’s friend and
Jeff Deering’s date after the Yale game.

Sanderson, Carl Suitor whom Vienna Thorne
rejects because of his drinking and who shoots him¬
self in the shoulder when she dismisses him.

Thorne, Vienna Dolly Harlan’s fiancee, whose
brother was killed in a prep school football game
and who temporarily convinces Dolly to give up
football.

“Boy Who Killed His
Mother, The”

Verse. Neurotica 9 (Winter 1952), 38-39 [unau¬
thorized publication]; Notebooks #884.

This poem, which Fitzgerald performed as a
party stunt, provided a working title for an early
version of Tender Is the Night.

“Breakfast”

Article by Zelda Fitzgerald. Favorite Recipes of
Famous Women, edited by Florence Stratton (New
York & London: Harper & Brothers, 1925), p. 98;
Zelda Fitzgerald: The Collected Writings.

Humorous instructions for preparing breakfast.

Cambridge Edition of the Works of F. Scott Fitzgerald, The 43

“Bridal Party, The”

Fiction. Written May 1930. The Saturday Eve¬
ning Post 203 (August 9, 1930), 10-11, 109-110,
112, 114; Stories.

Michael Curly is shocked to hear of the engage¬
ment of Caroline Dandy, whom he had lost due to
his lack of money but whom he still loves. When
he encounters Caroline and her fiance, Hamilton
Rutherford, in PARIS, they invite him to the wed¬
ding and several parties. Michael learns that he
has inherited a quarter of a million dollars from his
grandfather. He tells Caroline one more time of his
enduring love for her, as well as his inheritance, but
she remains committed to Rutherford, who has just
lost all his money. Despite Rutherford’s financial
trouble, he goes ahead with the elaborate wedding
reception he had planned, and the ceremony and
reception cure Michael of his longing for Caroline.

This story was based on the 1930 Paris wedding of
Fitzgerald’s friend Ludlow Fowler’s brother Powell.

CHARACTERS

Collins, Marjorie Girl who tries to blackmail
Hamilton Rutherford before his wedding.

Curly, Michael American in Paris who attends
the wedding of Caroline Dandy, whom he had
loved and lost.

Dandy, Caroline Young woman whom Michael
Curly loves but who marries Hamilton Rutherford.

Dandy, Mrs. Caroline Dandy’s mother, who had
always liked Michael Curly.

Johnson Friend who plans a practical joke on
Hamilton Rutherford at his bachelor party.

Packman, George Friend who hosts a party for
Hamilton Rutherford and Caroline Dandy.

Rutherford, Hamilton Caroline Dandy’s fiance,
who loses his money but proceeds with an elaborate
wedding reception.

Rutherford, Mr. Hamilton Rutherford’s father,
whom Michael Curly meets at a wedding party.

West, Jebby Friend who hosts a tea for Caro¬
line Dandy and Hamilton Rutherford and with
whom Michael Curly dances at the wedding
reception.

“Broadcast We Almost Heard
Last September, The”

Satire. Written in 1935. Furbso 3 (Fall 1947), 8-10.

Sports-style broadcast of a battle in Central
Europe.

“Brooklyn Bridge”

Fitzgerald wrote a memo on this proposed movie
for Twentieth Century-Fox on August 12, 1940
(Princeton University Library); he may have
worked briefly on the movie, which was never
produced.

Cambridge Edition of the Works
of E Scott Fitzgerald, The

Cambridge: Cambridge University Press, 1991- .
The Great Gatsby, ed. with intro, by Matthew J.
BRUCCOLI, 1991; The Love of the Last Tycoon: A
Western, ed. with intro, by Bruccoli, 1993; This Side
of Paradise, ed. with intro, by James L. W. West
III, 1995; F tappers and Philosophers, ed. with intro,
by James L. W. West III, 2000; Trimalchio: An
Early Version of The Great Gatsby, ed. with intro,
by James L. W. West III, 2000; Tales of the Jazz
Age, ed. with intro, by James L. W. West III, 2002;
My Lost City: Personal Essays, 1920-1940, ed. with
intro, by James L. W. West III, 2005. See Editing
Fitzgerald’s Texts.

44 "Camel's Back, The"

“Camel’s Back, The”

Fiction. Written January 1920. The Saturday Eve¬
ning Post 192 (April 24, 1920), 16-17, 157, 161,
165; Tales of the Jazz Age.

An interfering man named Warburton per¬
suades Perry Parkhurst to get a marriage license
and present his girlfriend, Betty Medill, with the
ultimatum that she must marry him at once or
never. Perry and Betty quarrel, and he leaves
and gets drunk. He rents a camel costume for
the Townsends’ circus ball and persuades a taxi
driver to wear the back half of the costume. At
the party, Warburton announces that he thinks
part of the camel is Warren Butterfield, a visitor
in town; Betty, interested in the prospect of a new
man, flirts with the camel. Betty and the camel
win prizes for the best costumes, and they are mar¬
ried in a mock ceremony presided over by Jumbo,
a waiter at the club. Jumbo then discovers that
the camel has handed him a real marriage license,
and he reveals that his status as a Baptist minister
makes the ceremony binding. Betty is furious, and
Perry renounces his claim to her. However, when
the camel’s back—the taxi driver—refuses to
relinquish his claim as Betty’s husband, she agrees
to marry Perry in a real ceremony and go West
with him.

Fitzgerald wrote “The Camel’s Back” in one
day and used his earnings from it to buy a plati-
num-and-diamond wristwatch for Zelda Sayre
[Fitzgerald]. It was his first story to appear in
the O. Henry Prize Stories, an annual collection
of fiction. “The Camel’s Back” was made into a
movie (retitled Conductor 1492) in 1924; see Alan
Margolies, ‘“The Camel’s Back’ and Conductor
1492,” Fitzgerald/Hemingway Annual (1974),
pp. 87-88.

CHARACTERS

Baily “Bad man” who invites Perry Parkhurst to
his hotel room to drink champagne.

Butterfield, Warren New York architect who is
visiting the Howard Tates and whom Betty Medill
mistakenly believes is inside the camel costume.

Jumbo Black waiter who performs a mock wed¬
ding between Betty Medill and the camel, but
whose status as a Baptist minister makes the cer¬
emony legal.

Macy, Martin Man who drinks champagne in
Baily’s room.

Medill, Betty Perry Parkhurst’s girlfriend, who
marries him while he is in a camel costume.

Medill, Cyrus Betty Medill’s father, known as
“the Aluminum Man.”

Nolak, Mr. and Mrs. Proprietors of the cos¬
tume shop where Perry Parkhurst rents a camel
costume; they both refuse to wear the back part of
the costume.

Parkhurst, Perry Lawyer who unsuccessfully
presses Betty Medill to marry him, then marries her
while disguised as a camel at a costume party.

Tate, Emily Mr. and Mrs. Howard Tate’s young
daughter, who announces that there is a camel on
the stairs.

Tate, Mr. and Mrs. Howard Couple who are
hosting a dance for their daughter Millicent Tate.
Perry Parkhurst mistakenly shows up at their party
rather than at the Townsends’ circus ball.

Tate, Millicent Daughter of Mr. and Mrs. How¬
ard Tate, who are giving a dance for her on the
night of the Townsends’ circus ball.

taxi driver Man whom Perry Parkhurst bribes to
wear the back part of the camel costume. His insis¬
tence that he is married to Betty Medill as much as
Perry is persuades Betty to return to Perry.

Townsend, Mr. and Mrs. Hosts of the circus
ball.

Warburton Interfering man who persuades Perry
Parkhurst to force Betty Medill to make up her
mind about marrying him. At the circus ball he

'Captured Shadow, The" 45

tells Betty that he thinks part of the camel is War¬
ren Butterfield, causing her to flirt with the camel.

“Cameo Frame, The”

Verse. The Nassau Literary Magazine 73 (Octo¬
ber 1917), 169-172; In His Own Time; Poems.

Fitzgerald incorporated portions of this poem in
This Side of Paradise on p. 154 as “St. Cecelia” and
on p. 160.

“Captured Shadow, The”

Fiction—Basil Duke Lee story. Written September
1928. The Saturday Evening Post 201 (Decem¬
ber 29, 1928), 12-13, 48, 51; Taps at Reveille; The
Basil and Josephine Stories.

Basil Duke Lee, age 15, writes a play called
“The Captured Shadow” and has difficulty casting
the lead roles. He asks Evelyn Beebe to be the lead¬
ing lady in his play, but she refuses until Basil says
that Hubert Blair will be the leading man. Evelyn
drops out of the play when Hubert does, claim¬
ing she has to leave town on a family trip. When
her little brother, Ham Beebe, is stricken with the
mumps, after Basil has deliberately exposed him to
a sick boy, Evelyn is unable to leave town and acts
in the play after all. The play is a success, but Basil
feels only emptiness and sadness over what he did
to Ham.

See also The Captured Shadow, a play that
Fitzgerald wrote in 1912.

CHARACTERS

Barnfield, Teddy Little boy who has the mumps.
Basil Duke Lee deliberately sends Ham Beebe to
play with Teddy so that he will get the mumps and
his sister, Evelyn Beebe, who has a leading role in
Basil’s play, will not be able to leave town.

Beebe, Evelyn Basil Duke Lee asks Evelyn to be
the leading lady in his play; but she drops out of the
play when leading man Hubert Blair does, claim¬

ing she has to leave town on a family trip. When
her little brother, Ham Beebe, is stricken with the
mumps after Basil has deliberately exposed him to
a sick boy, she is unable to leave town and acts in
the play after all.

Beebe, Ham Evelyn Beebe’s little brother, whom
Basil Duke Lee deliberately exposes to Teddy Barn-
field’s mumps so that Evelyn will be unable to leave
town and miss acting in Basil’s play.

Bissel, Imogene Basil Duke Lee and Riply Buck¬
ner want Imogene to be the leading lady in Basil’s
play, but she is having an appendectomy. This char¬
acter, based on Fitzgerald’s St. Paul friend MAR¬
GARET ARMSTRONG, also appears in “The Scandal
Detectives” and “He Thinks He’s Wonderful.”

Blair, Hubert The boys admire Hubert’s ath¬
letic prowess, and the girls find him fascinating.
He temporarily takes the role of the leading man
in Basil Duke Lee’s play. This character, based
on Fitzgerald’s St. Paul friend and rival REUBEN
Warner, also appears in “The Scandal Detec¬
tives,” “A Night at the Fair,” and “He Thinks He’s
Wonderful.”

Buckner, Riply, Jr. Boy who serves as business
manager for Basil Duke Lee’s play and also plays
the role of a policeman. This character, based on
Fitzgerald’s St. Paul friend Cecil Read, also appears
in “The Scandal Detectives,” “A Night at the Fair,”
and “He Thinks He’s Wonderful.”

Davies, Connie Girl who plays Miss Saunders in
Basil Duke Lee’s play. This character also appears
in “The Scandal Detectives” and “He Thinks He’s
Wonderful.”

DeBec, Mayall He takes the role of leading man
in Basil Duke Lee’s play after Hubert Blair drops
out.

Halliburton, Miss Teacher who coaches Basil
Duke Lee’s play. Based on St. Paul drama buff Eliz¬
abeth Magoffin.

46 Captured Shadow, The

Kampf, William S. (Bill) Boy who plays a crook
in Basil Duke Lee’s play. This character, based
on Fitzgerald’s St. Paul friend Paul Ballion, also
appears in “The Scandal Detectives,” “He Thinks
He’s Wonderful,” and “Forging Ahead.”

Lee, Alice Riley Basil Duke Lee’s mother. (His
father is dead.) She prays for God to help Basil
because she can’t help him anymore. This char¬
acter also appears in “A Night at the Fair,” “The
Freshest Boy,” and “Forging Ahead.” Her maiden
name is spelled “Riley” in “A Night at the Fair,”
but in “Forging Ahead” her father and uncle spell
it “Reilly.”

Lee, Basil Duke See entry for this character
under The Basil and Josephine Stories.

Lockheart, Andy Yale student and champion
athlete who is at Evelyn Beebe’s house when Basil
Duke Lee and Riply Buckner stop by to ask her to
star in Basil’s play. He is also mentioned in “Forg¬
ing Ahead.”

Torrence, Margaret Margaret has a part in Basil
Duke Lee’s play, but Basil does not want her for
the leading lady. This character, based on Fitzger¬
ald’s St. Paul friend Marie Hersey, also appears in
“The Scandal Detectives” and “He Thinks He’s
Wonderful.”

Van Schellinger, Gladys A sheltered rich girl.
She is supposed to have the part of a cook in Basil
Duke Lee’s play, but her mother does not want her
to be in a play about criminals. This character also
appears in “A Night at the Fair” and “He Thinks
He’s Wonderful.”

Captured Shadow, The

Play. In F. Scott Fitzgerald’s St. Paid Plays, 1911-1914.

Performed by the ELIZABETHAN DRAMATIC
Club of St. Paul on August 23, 1912, at Mrs.
Backus’s School for Girls in Oak Hall. Fitzgerald
wrote the play on the train back to St. Paul from

the Newman School for summer vacation, and
the performance earned $60 for the Baby Welfare
Association. Fitzgerald played the lead role of “The
Shadow.” His play was influenced by the popular
crook melodramas of the time, such as Alias Jimmy
Valentine and Arsene Lupin.

Sixteen years later Fitzgerald assessed his
achievement through this comment about Basil
Duke Lee in his story “The Captured Shadow”: “It
might all have been very bad and demoralizing for
Basil, but it was already behind him. Even as the
crowd melted away and the last few people spoke to
him and went out, he felt a great vacancy come into
his heart. It was over, it was done and gone—all
that work, and interest and absorption. It was a hol¬
lowness like fear” (Taps at Reveille, pp. 101-102).

Act I

Dorothy Connage tells housekeeper Miss Saunders
that she has read a “romantic” newspaper story
about a burglar called The Shadow, whom the police
have been unable to catch and who always returns
what he steals. Dorothy’s brother, Hubert Con¬
nage, comes home drunk with two crooks, Chin-
yman Rudd and Rabbit Simmons, whom he met on
the street and who tell him that they spy for the
Shadow. The Shadow enters the house; and detec¬
tives McGinness and Dureal, who see him, come
in and warn Mr. Connage that the Shadow is in his
house. The Shadow persuades Hubert Connage not
to reveal his presence by threatening to tell Hubert’s
fiancee, Helen Mayburn, that he was in prison three
days the week before. The Shadow then persuades
Miss Saunders that he is a detective and directs her
to tie up Mr. and Mrs. Connage, whom he claims are
the real thieves. He convinces the detectives that
he is Detective Johnston from the central office and
tells them that Hubert Connage is the Shadow.

Act II

The Connages persuade the detectives to release
Hubert, who reveals that the “detective,” who
has disappeared, is the Shadow. After encounter¬
ing Dorothy Connage, locking Dureal into a closet
and grappling with McGinness, the Shadow is tem¬
porarily captured by Hubert but escapes. He calls
the police station to withdraw the guard around
the house, but Dorothy Connage discovers him.

"Castle, The" 47

She agrees not to betray him, and when the clock
strikes twelve he explains that he is really Thorton
Hart Dudley and that two weeks before he had
made a $5,000 bet that he could prove the New
York police incompetent by committing daring
robberies and not getting caught.

CHARACTERS

Connage, Mr. and Mrs. Beverly Parents of
Hubert Connage and owners of the house which
The Shadow is attempting to rob.

Connage, Dorothy Hubert Connage’s sister,
who finds the story of The Shadow romantic.

Connage, Hubert Young man who comes home
drunk with two crooks whom he promises to make
aldermen. He is engaged to Helen Mayburn.

Dudley, Thorton Hart Gentleman who bets
$5,000 that he can prove the New York police
incompetent by committing daring burglaries for
two weeks and remaining uncaught. He disguises
himself as The Shadow, and he always returns what
he steals. While attempting to rob the Beverly
Connage home, he becomes attracted to Dorothy
Connage, who has read of him in the newspaper
and finds his deeds romantic.

Dureal, Officer Leon Bumbling French detec¬
tive whom The Shadow locks into a closet in the
Beverly Connage home.

Emma Kate The Beverly Connages’ maid, whom
housekeeper Miss Saunders forces to reveal the
conversation she overheard between Mr. and Mrs.
Connage.

Mayburn, Helen Dorothy Connage’s friend and
Hubert Connage’s fiancee.

McGinness, Officer Bumbling detective who is
unable to apprehend The Shadow.

Rudd, Chinyman Crook who works as a spy for
The Shadow. While drunk, Hubert Connage brings

Rudd home with him and promises to make him an
alderman.

Saunders, Miss Housekeeper whom Mr. Con¬
nage dismisses after he discovers that she has been
obtaining private information from the other ser¬
vants and that she threw his cigars out the window.

"The Shadow" Alias of Thorton Hart Dudley
who, on a bet, acts as a burglar for two weeks and
baffles the New York police.

Simmons, Rabbit Crook who works as a spy for
The Shadow. While drunk, Hubert Connage brings
Simmons home with him and promises to make
him an alderman.

“Castle, The”

After the publication of Tender Is the Night Fitzger¬
ald planned a historical novel, to be called “The
Castle,” based on a series of connected stories
about Philippe and covering the time from A.D. 880
to 950.

Harold Ober had trouble selling the series to
REDBOOK and expressed to Fitzgerald his reserva¬
tions about the project since Fitzgerald was known
for stories about contemporary society (December
5, 1934; As Ever, pp. 205-207). In 1938 Fitzgerald
considered rewriting the Philippe stories as a novel¬
ette to lead a collection of stories, telling MAXWELL
PERKINS that Philippe “is one of the best characters
I’ve ever ‘drawn’” (December 24, 1938; Life in Let¬
ters, p. 374; Scott/Max, p. 251). He discussed the
plan in a January 4, 1939, letter to Perkins but indi¬
cated his preference for writing a modern novel (Life
in Letters, pp. 375-376; Scott/Max, pp. 253-254).

Fitzgerald completed four Philippe stories: “In
the Darkest Hour,” “The Count of Darkness,” “The
Kingdom in the Dark,” and “Gods of Darkness.”
In 1935 he planned four more Philippe stories, as
described in his notes:

5 Decision to build castle leads to raid to kid¬
nap artisans + fight to death

48 "Cedric the Stoker (The True Story of the Battle of the Baltic)'

6 Called to serve King. His Castle Stormed
(Usurper has made surfs mutiny) The Fief
absolute

7 Hard boiled Counts with Eclessiastics invent¬
ing Bogus rights to give chivalry a sacrosanct
aspect

8 Love story

(F. Scott Fitzgerald Manuscripts VI, Part 3, p. 406)

Fitzgerald did not complete this planned novel. His
notes also include a list of books he consulted for
the medieval material, as well as notes he made
from his reading; see F. Scott Fitzgerald Manuscripts
VI, Part 3, pp. 400-407.

See Janet Lewis, “Fitzgerald’s ‘Philippe, Count
of Darkness,’” Fitzgerald/Hemingway Annual
(1975), pp. 7-32.

CHARACTER

Note: Other characters are discussed under the
individual stories in which they appear.

Philippe Character in “In the Darkest Hour,”
“The Count of Darkness,” “The Kingdom in the
Dark,” and “Gods of Darkness.” Based on Ernest
Hemingway, as Fitzgerald indicated in his Notebooks:
“Just as Stendahl’s portrait of a Byronic man made
Le Rouge et Noir so couldn’t my portrait of Ernest as
Phillipe make the real modern man” (#1034).

In “In the Darkest Hour,” Philippe, Count of
Villefranche, returns from Spain to his native
France in A.D. 872 at the age of 20 to find it rav¬
aged by Vikings. He stakes his claim to the land
of Villefranche in the Loire valley 50 miles west of
Tours and drives out a band of Viking invaders.

In “The Count of Darkness,” Philippe organizes
his supporters and makes plans for a camp. He
requires a band of Syrian merchants to hand over
a 10th of their goods in order to ford the Loire
River, and he allows the local peasants a portion
of the loot. He takes Letgarde, the consort of the
slain Norman chieftain, as his own consort, but she
drowns when she runs away after he mistreats her.

In “The Kingdom in the Dark,” he gives shelter
to Griselda, who has run away from Louis, king of
the West Franks; in retaliation, Louis instructs his
men to bum Philippe’s fort.

In “Gods of Darkness,” Philippe agrees to marry
Griselda and follows her advice to let Jaques han¬
dle a possible attack by the duke of Maine. When
Griselda reveals that she is the chief priestess of the
witch cult of which Jaques is also a member, Philippe
resolves to use the cult for his own purposes.

“Cedric the Stoker
(The True Story of the Battle
of the Baltic)”

Humor article by Fitzgerald and JOHN BlGGS, Jr.
The Princeton Tiger 28 (November 10, 1917),
12; In His Own Time.

Account of a stoker who throws himself into
the furnace when the ship runs out of fuel during
battle.

“Censorship or Not”

The Literary Digest 77 (June 23, 1923), 31, 61; In
His Own Time.

Includes Fitzgerald’s statement that N.Y.
Supreme Court Justice Ford’s campaign against
“unclean books” will attack such authors as JOSEPH
Hergesheimer, Theodore Dreiser, Sherwood
ANDERSON, and James Branch Cabell (1879-1958),
“whom they detest because they can’t understand”
and won’t touch “really immoral books” such as
Simon Called Peter (1921) by Robert Keable (1887—
1927) (In His Own Time, p. 170).

“Change of Class, A”

Fiction. Written July 1931. The Saturday Evening
Post, 204 (September 26, 1931), 6-7, 37-38, 41;
The Price Was High.

Barber Earl Johnson makes money on an invest¬
ment based on a tip given him by his customer
Philip Jadwin, but he loses his money in the stock
market crash and returns to his work as a barber.

'Continental Angle, The" 49

He plans to use his remaining $2,000 in savings to
buy his own shop in Jadwin’s office building, but his
wife, Violet Johnson, withdraws the money to run
away with bootlegger Howard Shalder. When Jad-
win checks with the bank to verify Earl’s account
for the shop purchase, he is informed that Shalder
is there to cash Violet’s check, which will make
Earl’s check bounce. Jadwin tells the bank to go
ahead and cash Violet’s check because he knows
that Shalder’s departure will free his wife, Irene
Shalder, with whom Jadwin was in love before she
married. He accepts Earl’s check, then destroys it
so that Earl is able to purchase the barber shop
anyway.

CHARACTERS

Jadwin, Philip Wealthy and prominent business¬
man who reluctantly gives Earl Johnson a tip on
the stock market.

Johnson, Earl Barber who makes money on a
stock market tip but loses it in the crash.

Johnson, Violet Earl Johnson’s wife, who runs
away with bootlegger Howard Shalder.

Shalder, Howard Bootlegger who runs away
with Violet Johnson.

Shalder, Irene Woman with whom Philip Jadwin
had been in love when she was a typist in his office
but to whom he had failed to propose because of
the difference in their social classes.

Spirelli, Lieutenant Italian-American officer whose
presence at the Shalders’ party makes Earl Johnson
wonder whether he has really risen socially.

“Changing Beauty of Park
Avenue, The”

Article by Zelda Fitzgerald. Harper’s Bazaar 62
Qanuary 1928), 61-63; Zelda Fitzgerald: The Col¬
lected Writings. Bylined “Zelda and F. Scott Fitzger¬
ald” but credited to Zelda in Ledger.

Description of Park Avenue, which has “the
essence of a pen-and-ink drawing of Paris” (Col¬
lected Writings, p. 403).

“Cheer for Princeton, A”

Lyrics. Included in a news story not written by
Fitzgerald, “Mass Meeting To-Night To Practice
New Song,” The Daily Princetonian October 28,
1915, p. 1; In His Own Time.

“A Cheer for Princeton,” with lyrics by Fitzger¬
ald and music by PAUL B. Dickey, won the fall 1915
competition for a new football song and was prob¬
ably sung at the 1915 Yale-PRINCETON game, but it
never caught on, perhaps because of its anticipa¬
tion of defeat: “Ever ready/For defeat or victory.”
Fitzgerald Newsletter prints a reconstruction of the
melody (pp. 221-222).

“City Dusk”

Verse. The Nassau Literary Magazine 73 (April
1918), 315; In His Own Time; Poems.

“Confessions”

Public letter to Fanny Butcher. Chicago Daily Tri¬
bune May 19, 1923, p. 9; In His Own Time.

In response to Fanny Butcher’s inquiry, Fitzger¬
ald noted that he would “rather have written”
Joseph Conrad’s Nostromo (1904) “than any other
novel” (In His Own Time, p. 168).

“Continental Angle, The”

Fiction by Zelda Fitzgerald. The New Yorker 8
(June 4, 1932), 25; Bits of Paradise; Zelda Fitzgerald:
The Collected Writings.

A couple dining in France recalls the food and
restaurants in America.

50 "Cosmopolitan'

“Cosmopolitan”

In March 1940 Lester Cowan, an independent
producer, paid $1,000 for the movie rights to “Bab¬
ylon Revisited” (February 1931), one of Fitzgerald’s
best stories. Planning to produce the movie with
the Columbia studio, Cowan hired Fitzgerald to
write the screenplay for $500 a week with a bonus
if the movie was made. The salary was low com¬
pared to what Fitzgerald had received from the stu¬
dios, but he enjoyed working on the project, and
“Cosmopolitan”—as he retitled it—is considered
his best screenplay. His August 1940 second draft
includes an “Author’s Note” which explains: “This
is an attempt to tell a story from a child’s point
of view without sentimentality. .. . Remember that
it is a dramatic piece—not a homey family story.
Above all things, Victoria is a child—not Daddy’s
little helper who knows all the answers” (PRINCE¬
TON University Library).

Fitzgerald’s screenplay is not a close adap¬
tation of his story, for he invented a new plot
to provide action for the camera and expanded
the role of Honoria Wales, renamed Victoria in
honor of BUDD ScHULBERG’s baby daughter. Shir¬
ley Temple (b. 1928) was considered for the role
of Victoria, and Fitzgerald discussed the screen¬
play with Temple and her mother in July; how¬
ever, Cowan and Mrs. Temple failed to agree
on terms. Fitzgerald’s screenplay was never pro¬
duced, and Cowan later sold the rights to “Baby¬
lon Revisited,” reportedly for $40,000, to MGM,
which produced it in 1954 as The Last Time I Saw
Paris from a new screenplay by Philip G. Epstein
(1909-52), Julius J. Epstein (1909-2000), and
Richard Brooks (1912-92).

In “Cosmopolitan” Charles Wales gets out of
the stock market in October 1929 because his wife
has suffered nervous strain from the demands of his
work. While they are sailing to Europe with their
daughter, Victoria, the market crashes. Wales tries
to save a friend’s investments by cable, and his
wife, who sees this as evidence that their lives
will always be dominated by the ticker tape, jumps
overboard. In PARIS, Wales has a nervous break¬
down and turns Victoria over to his sister-in-law.

Victoria later follows her father to SWITZERLAND,
where his crooked partner has hired someone to
murder Wales for his million-dollar insurance
policy. A phone call from Victoria distracts the
would-be murderer so that Wales can knock him

Fitzgerald’s screenplay was published as Babylon
Revisited: The Screenplay, with an introduction by
Budd Schulberg and an afterword by MATTHEW J.
BRUCCOLI (New York: Carroll & Graf, 1993).

“Count of Darkness, The”

Fiction—second Philippe story. Written October
1934. Redbook 65 (June 1935), 20-23, 68, 70, 72.
Philippe organizes his supporters and makes plans
for a camp. He requires a band of Syrian merchants
to hand over a 10th of their goods in order to ford
the River Loire, and he allows the local peasants
a portion of the loot. He takes Letgarde, the con¬
sort of the slain Norman chieftain, as his own con¬
sort, but when he mistreats her, she runs away and
drowns trying to cross the river.

CHARACTERS

Brother Brian A leader of Philippe’s band of
supporters. This character also appears in “In the
Darkest Hour” and “The Kingdom in the Dark.”

Letgarde Consort of the slain Norman chief¬
tain; Philippe takes her as his own consort. When
Philippe mistreats her, she runs away and drowns
trying to cross the river. See also girl (unnamed) in
“In the Darkest Hour.”

Granny Spokeswoman for the peasants who
demand that Philippe give them their tools so they
can farm. Philippe later appoints her to divide
among the peasants a share of the loot taken from
the Syrian merchants who ford the river.

Jacques (Jaques) A leader of Philippe’s support¬
ers. This character also appears in “In the Darkest
Hour,” “The Kingdom in the Dark,” and “Gods of
Darkness.”

Coward 51

little girl (unnamed) Child who was orphaned by
the Norman invaders and whom Philippe adopts.

Philippe See entry for this character under “The
Castle.”

Renaud Man whom Philippe appoints to go to
the settlement to bring back girls to cook and clean
and be wives to his men.

tramp (unnamed) Bearded musician who fasci¬
nates Letgarde.

“Couple of Nuts, A”

Fiction by Zelda Fitzgerald. Scribner’s Maga¬
zine 92 (August 1932), 80-84; Bits of Paradise;
Zelda Fitzgerald: The Collected Writings.

The marriage of musicians Larry and Lola dete¬
riorates while they are in EUROPE. Lola becomes
involved with their patron, Jeff Daugherty, and
Larry later becomes involved with Jeffs ex-wife,
Mabel. Larry and Mabel drown when her yacht
sinks in a hurricane, but Lola survives.

Coward

Play. InF. Scott Fitzgerald’s St. Paul Plays, 1911-1914.

Performed by the E l i z abethan Dramatic Club
on August 29, 1913, at the St. Paul Y.W.C.A.
Auditorium, raising $150 for the Baby Welfare
Association, and repeated “upon urgent request”
at the White Bear Yacht Club in Dellwood on
September 2, 1913.

Fitzgerald played the roles of Lt. Charles Doug¬
las and Private Willings and was also listed in the
program as Stage Manager. The play received
favorable reviews from the local press, and Fitzger¬
ald captioned the review clippings in his scrapbook
“The GREAT EVENT” and “ENTER SUCCESS!”
(The Romantic Egoists, pp. 18 & 19).

Act 1(1861)

Judge Douglas objects to Jim Holworthy’s atten¬
tions to his daughter Lindy Douglas because Hol-

worthy is not away fighting in the Civil War. Jim
wants Lindy to marry him, but she explains that
her father thinks he is a coward, so he resolves
to enlist. Lindy’s brother Charley Douglas, a Con¬
federate soldier, stops by the house while his regi¬
ment is retreating; he is carrying $12,000 which he
stole from a Union commissary train that morning.
Union soldiers search the house for him, and when
they threaten Jim—who did not enlist after all—he
reveals Charley’s hiding place in a chest, and Char¬
ley is taken prisoner of war. Jim realizes his coward¬
ice and heads south to join the army.

Act II (1865)

Judge Douglas has died, and Lindy is teaching
school to support the impoverished family. Charley
returns home after the surrender of General Robert
E. Lee at Appomattox, and Jim Holworthy—who
saved Charley’s life in the war—returns as an army
captain. He proposes to Lindy again, but she refuses
him when he confesses that he still retains a streak
of cowardice. When two Union soldiers try to pil¬
lage the house, Jim confronts Private Willings, who
is trying to steal Lindy’s necklace, and bluffs him by
offering to let him choose between two pistols, only
one of which is loaded. Lindy agrees that he has had
another chance to conquer his “yellow streak” and
embraces him.

CHARACTERS

Altwater, Lieutenant Percy, C.S.A. Pompous
Englishman who joined the Confederate Army and
who becomes attracted to Virginia Taylor while
visiting the home of Charley Douglas. Altwater
proposes to her after the war.

Ashton, Cecilia Lindy Douglas’s friend and Char¬
ley Douglas’s fiancee.

Bangs, Angelina A proud and sanctimonious
visitor who annoys Judge Douglas’s family.

Barkis, Private Union soldier who attempts to
plunder Judge Douglas’s house after the war.

Douglas, Lieutenant Charles, C.S.A. Con¬
federate soldier who steals $12,000 from a Union

52 "Crack-Up, The"

commissary train and who is taken prisoner of war
while visiting his family during a retreat.

Douglas, Clara Younger sister of Lindy and
Charley Douglas.

Douglas, Judge Virginian who is unable to go
to war because he is paralyzed from the waist
down. He disapproves of Jim Holworthy’s atten¬
tions to his daughter Lindy Douglas because
Holworthy, though an able-bodied man, is not
fighting in the war.

Douglas, Lindy Judge Douglas’s daughter, who
inspires Jim Holworthy to enlist in the Confeder¬
ate army when she rejects his marriage proposal
because of his cowardice. After the war she changes
her mind about him.

Douglas, Mrs. Judge Douglas’s wife, who sees no
harm in their daughter Lindy Douglas seeing Jim
Holworthy as long as they do not become intimate.

Douglas, Tommy Younger brother of Lindy and
Charley Douglas.

Holworthy, Jim Able-bodied young man whom
Judge Douglas considers a coward for not going
to war. When Lindy Douglas rejects Holworthy’s
proposal, he considers enlisting but fails to do so
until he realizes his own cowardice in revealing
the hiding place of her brother Charley Douglas
to the Yankees. Holworthy joins the army and
is awarded a medal at the Battle of Petersburg.
He returns from the war a captain and persuades
Lindy to marry him when he scares away a Union
soldier who is trying to steal her necklace.

Jefferson (Jeff) Black servant to Judge Douglas’s
family. When he discovers the money which Char¬
ley Douglas hid during the war, he thinks Charley
will send it to General Robert E. Lee despite his
own family’s poverty, so he gives the money to
Mrs. Douglas and tells her that her now-deceased
husband had entrusted it to him to give her after
the war.

Ormsby, Captain, U.S.A. Union officer who
takes Charley Douglas prisoner.

Pruit, Miss Tommy and Clara Douglas’s govern¬
ess, who objects to her role in their war games.

Taylor, Virginia Romantic and foolish girl who
becomes engaged to Lieutenant Altwater.

Willings, Private Union soldier who attempts to
plunder Judge Douglas’s house after the war. When
he tries to steal Lindy Douglas’s necklace, Jim Hol¬
worthy scares him away.

“Crack-Up, The”

Autobiographical essay. ESQUIRE 5 (February 1936),
41, 164; The Crack-Up.

Account of Fitzgerald’s “crack-up,” of his shift
from believing that “life was something you domi¬
nated if you were any good” to the realization of his
own emotional bankruptcy: “I had been mortgag¬
ing myself physically and spiritually up to the hilt”
(CU, pp. 69 & 72).

This was the first of three confessional articles,
including “Pasting It Together” and “Handle with
Care,” which Fitzgerald wrote for Esquire after the
publication of Tender Is the Night when he was
having trouble writing stories for the SATURDAY
EVENING Post. Reaction to the “Crack-Up” series
was largely negative: Magazine editors and movie
people distrusted Fitzgerald’s ability to deliver
good work, and his friends found the articles
embarrassing.

Crack-Up: With Other
Uncollected Pieces, Note-Books
and Unpublished Letters, The

Edited with poem of dedication by Edmund WIL¬
SON. New York: New Directions, 1945; Harmond-
sworth, U.K.: Penguin, 1965. Contents: “Echoes of
the Jazz Age,” “My Lost City,” “Ring,” ‘“Show Mr.

and Mrs. F. to Number-,’” “Auction—Model

1934,” “Sleeping and Waking,” “The Crack-Up,”
“Handle With Care,” “Pasting It Together,” “Early

"Crazy Sunday" 53

Success,” “The Note-books” [21 sections], “Letters
to Friends,” “Letters to Frances Scott Fitzgerald,”
“Three Letters about ‘The Great Gatsby,’” “A Let¬
ter from John Dos Passos,” “A Letter from Thomas
Wolfe,” “F. Scott Fitzgerald” by Paul Rosenfeld,
“The Moral of Scott Fitzgerald” by GLENWAY
WESCOTT, “A Note on Fitzgerald” by JOHN Dos
Passos, “The Hours” by John Peale Bishop.

In an influential review of the volume, Lionel
Trilling noted: “The root of Fitzgerald’s heroism is
to be found, as it sometimes is in tragic heroes, in his
power of love” (The Liberal Imagination [New York:
Viking, 1950], p. 244). Maxwell Perkins had vetoed
Wilson’s earlier proposal to include the “Crack-Up”
essays with The Last Tycoon because he felt that they
had damaged Fitzgerald’s reputation, and he declined
to publish CU. However, the publication of CU was
a key event in triggering the Fitzgerald REVIVAL.

“Crazy Sunday”

Fiction. Written January 1932. The American
Mercury 27 (October 1932), 209-220; Taps at
Reveille; The Last Tycoon.

Screenwriter Joel Coles attends an exclusive
Sunday tea at the home of director Miles Caiman,
where he is flattered by the attention of Caiman’s
wife, Stella Caiman. After drinking a couple of
cocktails, Joel makes a fool of himself by performing
a humorous skit, for which he is booed by a famous
actor. At a party the following Sunday, Stella tells
Joel about Miles’s affair with Eva Goebel, her best
friend. Joel goes home with the Caimans, who dis¬
cuss their marital troubles with him, and he realizes
he is in love with Stella. She invites him to escort
her to a dinner and theater party while Miles is out
of town at a football game. After the party Stella
invites Joel to her house and shares her doubt that
Miles has really gone to the game; she thinks he
may have faked several telegrams and must really
be in town spying on her. Just as Stella kisses Joel,
the telephone rings with the news that Miles’s
plane has crashed and his body has been identified.
Stella refuses to believe the news and begs Joel to
stay with her. He phones for a doctor and leaves
but knows he will be back.

CRITICAL COMMENTARY

“Crazy Sunday” provides an excellent example of
tne way ritzgeraid incorporated autoDiograpmcai

54 "Crazy Sunday'

incidents into his fiction. The incident at the Cai¬
mans’ tea was based on Fitzgerald’s alcohol-inspired
exhibition at a party hosted by IRVING Thalberg
and Norma Shearer. Fitzgerald sang a humorous
song; actor John Gilbert and actress Lupe Velez
booed him; and Shearer sent him a complimentary
telegram.

Fitzgerald structured the story with five num¬
bered sections, but the action turns on three crazy
Sundays. He identifies Sunday as not a day in
itself but “a gap between two other days,” a day
when the struggles of HOLLYWOOD ambition briefly
recede in favor of “individual life” (p. 698). On
the first Sunday, Joel makes a fool of himself at the
Caimans’ party. On the second Sunday, Miles’s
affair with Eva Goebel is revealed, and it is clear
that he is “not a well man” (p. 704). Just after mid¬
night on the morning of the third Sunday, Stella
is alerted to Miles’s death in a plane crash, and
she desperately tries to keep Joel with her, as if by
betraying Miles “she would be keeping him alive”
(p. 712).

The entire story emphasizes the artificial
atmosphere of Hollywood. The first paragraph
describes the characters as puppets awakening
in a toy shop. The Caiman house itself is like a
stage, “built for great emotional moments” with
an “air of listening, as if the far silences of its
vistas hid an audience” (p. 699). When Stella
rages about Miles’s unfaithfulness, Joel does “not
quite believe in picture actresses’ grief’ (p. 705).
He tries to decide whether she is “an imitation
of an English lady” or vice versa, and she hov¬
ers “somewhere between the realest of realities
and the most blatant of impersonations” (p. 705).
Stella speaks of Miles’s lover, Eva Goebel, as
“that woman,” as if omitting her name “would be
to lessen her reality” (p. 706). Even the full moon
is “only a prop” (p. 709).

Cosmopolitan rejected “Crazy Sunday” out of
fear that well-known Hollywood figures might be
recognized and take offense. Fitzgerald later wrote
to his agent HAROLD OBER that he had mixed up
the characters so that none could have been iden¬
tified “except possibly King Vidor and he would
have been very amused by the story” (February 8,

1936; Life in Letters, p. 297). Ober was unable to
sell the story to another mass-circulation maga¬
zine because of its length and sexual content, so
Fitzgerald sold it to American Mercury for only
$ 200 .

Fitzgerald revised two passages from “Crazy Sun¬
day” and incorporated them into Tender Is the Night.

CHARACTERS

Caiman, Miles Brilliant movie director with a
troubled marriage who dies in an airplane crash.
Loosely based on KING VlDOR.

Caiman, Mrs. Miles Caiman’s mother, who tells
Joel Coles she had always expected a lot from her
son and isn’t surprised by his success.

Caiman, Stella Walker Miles Caiman’s wife,
who becomes interested in screenwriter Joel Coles.

Coles, Joel Screenwriter who disgraces himself at
director Miles Caiman’s party and who later becomes
involved with Stella Caiman. Based on Fitzgerald
and screenwriter Dwight Taylor (1902-86).

Goebel, Eva Stella Caiman’s best friend, with
whom Miles Caiman has an affair.

Keogh, Nat Hard-drinking screenwriter who
attends the Caimans’ party.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

Grebstein, Sheldon. “The Sane Method of ‘Crazy
Sunday.’” In The Short Stories of F. Scott Fitzger¬
ald: New Approaches in Criticism, edited by Jackson
R. Bryer (Madison: University of Wisconsin Press,
1982), 279-289.

Johnston, Kenneth. “Fitzgerald’s ‘Crazy Sunday’: Cin¬
derella in Hollywood,” Literature/Film Quarterly 6
(Summer 1978), 214-221.

Taylor, Dwight. Joy Ride (New York: Putnam, 1959).

"Cut-Glass Bowl, The" 55

“Credo of F. Scott Fitzgerald,
The”

See “Public letter to Thomas Boyd.”

“Cruise of the Rolling Junk,
The”

Article. Motor 41 (February, March, April 1924),
24-25, 58, 62, 64, 66; 42-43, 58, 72, 74, 76; 40-
41, 58, 66, 68, 70; The Cruise of the Rolling Junk
(Bloomfield Hills, Mich. & Columbia, S.C.: Bruc-
coli Clark, 1976).

Three-part humorous travel article dealing with
the Fitzgeralds’ July 1920 trip from WESTPORT,
Connecticut, to MONTGOMERY, Alabama, in a sec¬
ondhand Marmon touring car dubbed “the Rolling

“Curious Case of Benjamin
Button, The”

Fiction. Written February 1922. Collier’s 69 (May
27, 1922), 5-6, 22-28; Tales of the Jazz Age.

Benjamin Button, the first child of Mr. and Mrs.
Roger Button, a socially prominent couple in ante¬
bellum Baltimore, is bom as an old man, about
age 70. His parents try to ignore or disguise his age
as much as possible—feeding him only milk at first,
buying him toys, and sending him to kindergarten.
At age 18 he passes the entrance examinations for
Yale but is not allowed to matriculate because he
looks as if he is 50. He joins his father’s hardware
business and marries young Hildegarde Moncrief.
As he grows older, Benjamin appears younger and
takes up activities—such as dancing—which are
appropriate for his apparent age. He attends and
graduates from Harvard but later goes to kindergar¬
ten with his own grandson. He grows younger and
younger until he finally fades out.

Fitzgerald explained in the annotated table of
contents for TJA that “this story was inspired by a
remark of Mark Twain’s to the effect that it was a
pity that the best part of life came at the beginning
and the worst part at the end” (p. ix).

CHARACTERS

Button, Benjamin Man who is born 70 years old
and grows younger rather than older.

Button, Mrs. Roger Benjamin Button’s mother.

Button, Roger Benjamin Button’s father, the
president of a wholesale hardware company.

Button, Roscoe Benjamin Button’s son, who
demands that his father call him Uncle when his
father begins to look younger than Roscoe.

Hart, Mr. Yale registrar who refuses to believe
that Benjamin Button is 18 years old and orders
him out of town.

Keene, Doctor Family physician who delivers
Benjamin Button and then refuses to have any¬
thing else to do with the Button family.

Moncrief, General Hildegarde Moncriefs father,
who is outraged by her engagement to Benjamin
Button.

Moncrief, Hildegarde Young woman who mar¬
ries Benjamin Button. He becomes tired of her as
she ages and as he grows younger, and she leaves
him to live in Italy.

Nana Benjamin Button’s nurse during his infancy.

the Shevlins Hosts of the dance where Benjamin
Button meets Hildegarde Moncrief.

“Cut-Glass Bowl, The”

Fiction. Written October 1919. Scribner’s Mag¬
azine 67 (May 1920), 582-592; Flappers and
Philosophers.

56 "Dalyrimple Goes Wrong"

Evylyn Piper’s life is haunted by an enormous
cut-glass bowl, a gift from a rejected suitor who
told her the bowl was as hard, beautiful, empty, and
easy to see through as she was. When Freddy Ged-
ney, with whom she has just ended an affair, acci¬
dentally hits the bowl while attempting to slip out
of the house, he is discovered by her husband, Har¬
old Piper. Her daughter Julie Piper cuts her finger
on the bowl, and her hand is amputated after she
contracts blood-poisoning. Harold Piper’s proposed
business merger falls through after his cousin’s hus¬
band, Tom Lowrie, who is drunk on punch served
in the bowl, is rude to Piper’s prospective partner,
Clarence Ahearn. When the Pipers’ son Donald
Piper is killed in the war, the letter notifying them
of his death is temporarily misplaced in the bowl.
Desperate to be rid of the bowl, Evylyn tries to fling
it into the yard but slips and crashes down the steps
with it.

CHARACTERS

Ahearn, Clarence A competitor with whom
Harold Piper plans to form a partnership.

Ahearn, Mrs. Clarence Ahearn’s socially inept

Ambler, Joe Irene’s beau and a guest at Harold
and Evylyn Piper’s dinner party.

Canby, Carleton Rejected suitor who gave Evy¬
lyn Piper the bowl.

Fairboalt, Mrs. Roger Curious woman who vis¬
its Evylyn Piper, who tells her the history of the
bowl.

Gedney, Freddy Young man with whom Evylyn
Piper has an affair.

Irene Evylyn Piper’s sister, a guest at the Pipers’
dinner party.

Lowrie, Jessie Piper Harold Piper’s cousin,
who tells him about his wife’s affair with Freddy
Gedney.

Lowrie, Tom Jessie Piper Lowrie’s husband, who
drunkenly speaks to Mr. and Mrs. Clarence Ahearn
about their being kept out of the Country Club.

Piper, Donald Harold and Evylyn Piper’s son,
who is killed in the war.

Piper, Evylyn Woman whose life is haunted by a
cut-glass bowl that was a gift from a rejected suitor.

Piper, Harold Evylyn Piper’s husband, a whole¬
sale hardware dealer.

Piper, Julie Harold and Evylyn Piper’s daughter,
whose hand is amputated after contracting blood-
poisoning from cutting her thumb on the bowl.

Piper, Milton Harold Piper’s younger brother,
who tries to keep Tom Lowrie from telling Clar¬
ence Ahearn about the Country Club matter.

“Dalyrimple Goes Wrong”

Fiction. Written September 1919. The Smart
Set 61 (February 1920), 107-116; Flappers and
Philosophers.

Bryan Dalyrimple returns to his hometown as a
military hero and seeks his first civilian job. Theron
G. Macy employs him to work in the stockroom
of his wholesale grocery, where Dalyrimple grows
bored and discontented with his lack of progress.
When Dalyrimple discovers that Macy’s nephew,
Tom Everett, has been given preferential treat¬
ment, he resolves to “get on”—no matter what it
takes—so that he can buy happiness. He moon¬
lights as a burglar until he is offered a seat in the
state Senate by Alfred J. Fraser, who has watched
and admired the steadiness with which he has per¬
sisted at his grocery work.

“Dalyrimple Goes Wrong” is Fitzgerald’s first
ironic examination of the Horatio Alger (1832-99)
success story.

CHARACTERS

Dalyrimple, Bryan Young military hero who
is dissatisfied with his job in the stockroom of a

"Dearly Beloved" 57

wholesale grocery and begins a secret life of bur¬
glary until he is offered a seat in the state Senate.

Everett, Tom Theron Macy’s nephew, who is
given preferential treatment on the job.

Fraser, Alfred J. Influential man who offers to
put Bryan Dalyrimple in the state Senate.

Hanson, Mr. Man to whom Bryan Dalyrimple
reports on his first day at the wholesale grocery
stockroom.

Hawkins, Mr. and Mrs. The mayor and his wife,
with whom Bryan Dalyrimple stays when he first
returns from the war.

Hesse, Mr. Bookkeeper on whose desk Bryan
Dalyrimple sees a list of salaries.

Maty, Theron G. Owner of a wholesale grocery
business who gives Bryan Dalyrimple a job in his
stockroom.

Moore, Charley Lazy fellow worker who is respon¬
sible for training Bryan Dalyrimple in the grocery
stockroom.

“Dance, The”

Fiction. Written June 1926. Redbook 47 (June
1926), 39-43,134, 136, 138; Bits of Paradise.

The narrator, a girl from New York, relates how
the dark underside of a small southern town, which
she calls Davis, had been revealed during her visit five
years before. She had become interested in Charley
Kincaid until she learned of his engagement to Marie
Bannerman; then she had decided to leave town
to avoid causing trouble. At a country-club dance
two nights before she was to leave, she and Char¬
ley had discovered Marie kissing Joe Cable; shortly
afterward Marie had been discovered murdered in
a dressing-room. Charley had been arrested and
believed guilty until the narrator solved the crime:
Catherine Jones had killed Marie after she saw her
kissing Joe Cable, with whom Catherine was in

love. The narrator married Charley, and they live
in New York.

“The Dance” was Fitzgerald’s first commercial
mystery story. He considered changing the title to
“In a Little Town.”

CHARACTERS

Abercrombie, Bill Sheriff whose gun Catherine
Jones used to murder Marie Bannerman.

Bannerman, Marie Charley Kincaid’s fiancee,
who is murdered by Catherine Jones.

Cable, Joe Young man whom Catherine Jones
loves and who is discovered kissing Charley Kin¬
caid’s fiancee, Marie Bannerman.

Golstein, Katie Catherine Jones’s former nurse,
now a maid at the country club, who provides
an alibi for Catherine after Marie Bannerman’s
murder.

Golstein, Thomas Katie Golstein’s brother, who
reveals to the narrator that Katie had been Cath¬
erine Jones’s nurse.

Hale, Musidora Aunt whom the narrator is vis¬
iting in a small Southern town.

Jones, Catherine Aspiring dancer who shoots
Marie Bannerman.

Kincaid, Charley Marie Bannerman’s fiance,
who marries the narrator.

narrator (unnamed) Girl from New York who
solves a murder while visiting a small Southern town.

“Dearly Beloved”

Fiction. Fitzgerald/Hemingway Annual (1969),
pp. 1-3; Bits of Paradise; Dearly Beloved (Iowa
City: Windhover Press of the University of Iowa,
1969).

Black golf champion and Pullman steward Beauty
Boy marries Lilymary, and they have a son after

58 "Death of My Father, The'

many years. When Beauty Boy’s leg is amputated
after an injury on the job, Lilymary works as a cook,
and he becomes a night watchman. They both die of
influenza and go to heaven, where his leg is restored
and he becomes golf champion again.

CHARACTERS

Beauty Boy Pullman car porter and black golf
champion of Chicago who reads Plato and Rosicru-
cian literature. Fitzgerald’s only black protagonist,
he has connections with the black fisherman in
The Last Tycoon/The Love of the Last Tycoon: A
Western.

Lilymary Beauty Boy’s wife.

“Death of My Father, The”

Unfinished essay. The Princeton University Library
Chronicle 12 (Summer 1951), 187-189; manuscript
facsimiled in Apprentice Fiction.

Fitzgerald adapted material from this essay about
Edward Fitzgerald for use in Tender Is the Night
to describe the relationship between Dick Diver
and the Rev. Diver.

“Debt of Honor, A”

Fiction. The St. Paul Academy Now and Then 2
(March 1910), 9-11; Apprentice Fiction.

Confederate private Jack Sanderson volunteers
for sentry duty and falls asleep at his post. Gen¬
eral Robert E. Lee condemns him to be shot but
then lets him off with a reprimand. Six weeks later
Sanderson is killed by the enemy while heroically
charging a house held by federal troops; before he
dies, he sets the house on fire, putting the enemy
to flight.

Fitzgerald’s interest in the Civil War was influ¬
enced by the reminiscences of his father, Edward
Fitzgerald, who guided Confederate spies during
his boyhood.

CHARACTERS

Barrows, Colonel Confederate officer who asks
General Jackson for permission to assault a house
held by the enemy.

Jackson, General Thomas Jonathan ("Stone¬
wall") (1824-1863) Historical figure and char¬
acter in “A Debt of Honor.” Confederate general.
In “A Debt of Honor,” he grants Colonel Barrows
permission to assault a house held by federal troops.

Lee, Lieutenant General Robert E. (1807-
1870) Historical figure and character in “A Debt
of Honor.” General-in-chief of the Confederate
armies. In “A Debt of Honor,” he sentences private
Jack Sanderson to death for falling asleep while on
sentry duty but then decides to let him off with a
reprimand.

Sanderson, John (Jack) Confederate private
who falls asleep on sentry duty but later redeems
himself by heroically leading a charge.

“Debutante, The”

Play. The NASSAU LITERARY MAGAZINE 72 (Janu¬
ary 1917), 241-252; revised for The Smart Set 60
(November 1919), 85-96; incorporated into This
Side of Paradise; Apprentice Fiction.

A one-act play about self-absorbed belle Helen
Halcyon on the evening of her debut. Helen’s
admission to her forlorn suitor, John Cannel, that
she enjoys the thrill of “going after” young men is
the earliest example of an attitude characteristic
of many Fitzgerald heroines. Fitzgerald included a
revised and expanded version of the play in TSOP
as the first meeting of Amory Blaine and Rosalind
Connage.

CHARACTERS

Cannel, John Helen Halcyon’s forlorn suitor,
who climbs up to her window before her debut and
complains that they are drifting apart. She rejects

"Diagnosis" 59

him because the novelty has gone out of their rela¬
tionship. This character is renamed Howard Gil¬
lespie in TSOP.

Halcyon, Cecilia Helen Halcyon’s “socially pre¬
cocious” younger sister, who smokes Helen’s hidden
cigarettes and drinks from Helen’s hidden flask. This
character is renamed Cecelia Connage in TSOP.

Halcyon, Helen Self-absorbed young woman
based on Ginevra King. On the evening of her
debut she rejects suitor John Cannel because
the novelty has gone out of their relationship.
This character is renamed Rosalind Connage in
TSOP.

Halcyon, Mr. Helen Halcyon’s father. This char¬
acter is renamed Leland R. Connage in TSOP.

Halcyon, Mrs. Helen Halcyon’s mother, who
instructs her bored daughter on how to behave at
her debut. This character is renamed Mrs. Con¬
nage in TSOP.

Narry Seamstress for the Halcyon family.

“Defeat of Art, The”

Review of The Boy Grew Older by Heywood Broun
(1888-1939). St. Paul Daily News, January 21,1923,
section 2, p. 6; F. Scott Fitzgerald on Authorship.

Fitzgerald describes Broun’s novel about a
newspaperman as “a competently written, highly
interesting and somewhat sketchy story” (FSF on
Authorship, p. 79).

“Design in Plaster”

Fiction. Esquire 12 (November 1939), 51, 169;
Afternoon of an Author.

Martin and Mary Harris, separated for four
months, are briefly drawn back together when he is

in a body cast after his arm is dislocated in an acci¬
dent. When he learns that she will be seeing Joris
Deglen that night, he goes to her apartment, where
he falls down the stairs and suffers new injuries.
Mary’s bitterness at Martin’s jealousy leads her to
invite Deglen into her bedroom.

This story was partly based on Fitzgerald’s expe¬
rience in a body cast after tearing his shoulder in a
diving accident in 1936.

CHARACTERS

Deglen, Joris Frenchman with whom Mary Har¬
ris has an affair.

Harris, Martin Studio electrical engineer who is
briefly reunited with his estranged wife, Mary Har¬
ris, after his arm is dislocated in an accident.

Harris, Mary Martin Harris’s estranged wife,
who is briefly drawn back to him after his arm is
dislocated in an accident.

“Diagnosis”

Fiction. Written October 1931. The Saturday
Evening Post 204 (February 20, 1932), 18-19, 90,
92; The Price Was High.

Sara Etherington returns from a trip to EUROPE
to find her fiance, Charlie Clayhorne, changed by
his worries about the Depression. At her request he
goes to see Marston Raines, a wise and perceptive
man, and then returns to his hometown of Mont¬
gomery, Alabama, to settle what is bothering him.
At the old family home, he retrieves an unopened
envelope which he had hidden after his father’s
death 10 years before and which he believes con¬
tains his father’s revised will, cutting him out and
giving his imprisoned half-brother, Pete Clayhorne,
control of the younger children, Dicky and Ben
Clayhorne. Before he can open it, however, Pete
appears and confesses that he had found and used
$10,000 cash that was not mentioned in their
father’s will and offers to share the money with his
three brothers. Charlie confesses about the hidden

60 "Diamond as Big as the Ritz, The'

envelope, which they open to discover a note that
says there is hidden money which will go to who¬
ever finds it. When Charlie returns to Sara, he is
his old self again.

CHARACTERS

Chevril, Mr. Confederate veteran who offends
Charlie Clayhorne by telling him that things were
worse after the Civil War than they are now in the
Depression.

Clayhorne, Ben Charlie Clayhome’s half-brother,
whom he is bringing up and who attends Princeton.

Clayhorne, Charlie Man whose personality is
temporarily changed by the stress of the Depression
but who returns to his old self after clearing up a
family matter regarding his father’s will.

Clayhorne, Dicky Charlie Clayhome’s half-
brother, whom he is bringing up and to whom
Charlie’s fiancee, Sara Etherington, brings expen¬
sive toy soldiers.

Clayhorne, Pete Charlie Clayhorne’s older
half-brother. After his release from prison he
bought a farm with the money that their father
had hidden.

Cortelyou, Henry Charlie Clayhorne’s employer
and Sara Etherington’s uncle.

Etherington, Sara Charlie Clayhorne’s fiancee,
who is disturbed by the changes she sees in him
when she returns from a trip to EUROPE.

Julia Servant whom Charlie Clayhorne saw in his
father’s room signing a document which he believed
to be a revised will.

Raines, Marston Wise man whose counsel Sara
Etherington asks Charlie Clayhorne to seek.

Sam Servant whom Charlie Clayhorne saw in
his father’s room signing a document that Charlie
believed to be a revised will.

“Diamond as Big as
the Ritz, The”

Fiction. Written October 1921. The SMART Set 68
Qune 1922), 5-29; Tales of the Jazz Age; The Last
Tycoon.

John T. Unger spends the summer with his St.
Midas’ classmate Percy Washington, who boasts
that his father is the richest man in the world.
The Washingtons’ estate is hidden in the Mon¬
tana Rockies, and their chateau rests on a diamond
mountain. Though their lifestyle and surroundings
are lavish, the Washingtons are hampered by the
necessity of preserving the secret of their wealth.
Percy’s father, Braddock Washington, has impris¬
oned two dozen aviators who have discovered their
estate, and he routinely arranges the deaths of his
children’s summer visitors. John and Percy’s sister
Kismine Washington fall in love; the night that
Mr. Washington sees them together, he arranges
for John’s death, but John escapes. That night the
Washington estate falls under attack by a dozen
airplanes, for an Italian teacher who escaped Wash¬
ington’s prison has revealed Washington’s secret.
John, Kismine, and her sister, Jasmine Washing¬
ton, escape the family property; John sees Braddock
Washington attempting to bribe God to restore the
secrecy of his wealth. Mr. and Mrs. Washington
and Percy enter the mountain through a trapdoor;
the mountain, which is wired, explodes.

“The Diamond as Big as the Ritz” is long and
complex enough to be classified sometimes as a
novella, like “May Day” and “The Rich Boy.”

CRITICAL COMMENTARY

Fitzgerald had difficulty selling “Diamond.” The
slick magazines rejected it, probably from fear that
its critique of wealth might offend advertisers and
that its readers might regard its mockery of religion
as blasphemous. Fitzgerald cut the story from 20,000
words to 15,000, and the iconoclastic Smart Set paid
$300 for it. Fitzgerald wrote to HAROLD OBER: “I
am rather discouraged that a cheap story like The
Popular Girl written in one week while the baby was
being born brings $1500.00 + a genuinely imagina¬
tive thing into which I put three weeks real entheusi-

'Diamond as Big as the Ritz, The" 61

asm like The Diamond in the Sky brings not a thing”
(February 5, 1922; Life in Letters, p. 54; As Ever, p.
36). Fitzgerald cut another 800 words from the story
when he polished it for inclusion in TJA.

Fitzgerald’s 1915 visit to his friend Sap
Donahoe’s Montana ranch provided the setting for
“Diamond.” Fitzgerald noted in the annotated table
of contents for TJA that this story “was designed
utterly for my own amusement. I was in that familiar
mood characterized by a perfect craving for luxury,
and the story began as an attempt to feed that crav¬
ing on imaginary foods” (TJA, p. viii).

Fitzgerald’s revision of the title from “The Dia¬
mond in the Sky” to “The Diamond as Big as the
Ritz” exemplifies his care for stylistic precision.
The revised title’s allusion to the 15-story Ritz-
Carlton Hotel in Manhattan suggests the luxury
and opulence that characterize the story. Though
interspersed with realistic touches, this is his best
fantasy; only fantasy was adequate to convey the
requisite degree of luxury.

At first it is hard to tell how seriously read¬
ers are supposed to take the story. MATTHEW J.
BRUCCOLI has suggested that the introduction is a
“false start”—that Fitzgerald began “Diamond” as
a parody, and when it became a serious critique of
attitudes toward wealth, he liked the opening too
much to cut it ( Classes on F. Scott Fitzgerald, p. 49).

The introduction, in fact, may be responsible
for the difficulty some readers have with the story.
Fitzgerald starts with a social documentary of a town
with the improbable name of Hades and a series of
bad jokes about how hot it is down there. Is Hades
meant to represent a literal or figurative hell? Even
the reference to “the old-fashioned Victorian motto”
adds to the confusion. The classically educated
Fitzgerald assumed that his readers would recognize
the reference to The Divine Comedy, in which Dante
identifies the words over the gate to Hell as “All
hope abandon, ye who enter here!” As John Unger’s
father thinks, “a little depressing” (p. 183), indeed.

The matter-of-fact description of Hades in sec¬
tion 1, however, introduces the idea of evil, which
is carried out in the imagery of the Montana land¬
scape in section 2. The sunset is “like a gigantic
bruise from which dark arteries spread themselves
over a poisoned sky” (p. 185). The terms bruise and

bruised occurs three times in two paragraphs. The
barren wasteland of the village of Fish is populated
by 12 “somber” men who were “beyond all religion”
(p. 185).

Although the Washingtons’ property on the dia¬
mond mountain is unimaginably beautiful, it too
is a wasteland of spiritual corruption, demonstrat¬
ing Lord Acton’s comment that “absolute power
corrupts absolutely.” With cold logic Braddock
Washington defends his monstrous imprisonment
and the murder of those who could jeopardize his
wealth. Young Percy Washington likewise speaks
matter-of-factly of the deaths and prisoners: “Not
that we mind that, you know, father and I, but it
upsets mother and the girls, and there’s always the
chance that some time we won’t be able to arrange
it” (p. 188). Although the girls are upset by the
deaths, Jasmine invites friends whom she knows
will be murdered, and the seemingly sweet Kis-
mine—despite her criticism of her sister for those
invitations—anticipates that she will “harden up,”
for “we can’t let such an inevitable thing as death
stand in the way of enjoying life while we have it”
(p. 205).

The preservation of their wealth and their com¬
fort is the Washington family’s sole priority. “A
chaste and consistent selfishness ran like a pattern
through their every idea” (p. 202). The diamond as
big as the Ritz has brought them ultimate wealth, but
it has trapped them as surely as they have enslaved
the Negroes and imprisoned the aviators. They can
never relax to enjoy the luxuries of their life because
of the constantly looming fear of discovery.

When the dreaded day of discovery comes, Brad-
dock Washington reveals his ultimate arrogance by
offering a bribe to God with “monstrous condescen¬
sion” (p. 211), “not in suppliance, but in pride” (p.
212). When the bribe is not accepted, Washington
himself plays God by blowing up the mountain,
with himself, his wife, his son, their slaves, and the
invading aviators.

John, Kismine, and Jasmine escape, and the
poor boy wins the rich girl—but her hastily sal¬
vaged diamonds turn out to be rhinestones. John
sentimentally (or mock-sentimentally) suggests
that they can lose themselves in love for a while,
but he undercuts that solution by admitting that he

62 "Diamond Dick and the First Law of Woman'

has the “shabby gift of disillusion” and that he “will
make the usual nothing of it” (p. 216).

“Diamond” has close connections with The
Great Gatsby and shares the novel’s vocabulary of
opulence. Jay Gatsby and Braddock Washington
both have amazingly luxurious homes and cars,
along with seemingly endless wealth, but Washing¬
ton’s wealth is pushed to a much further extreme
than Gatsby’s, due to the latitude that the fantasy
genre allowed Fitzgerald. Washington’s chateau,
resting on the foundation of a diamond mountain,
features a room with solid gold walls, another room
lined entirely with diamonds, ivory corridors, dia¬
mond and emerald plates, sable carpets, and a crys¬
tal bathtub in a room lined with an aquarium.

Like GG, “Diamond” examines the effects of
wealth on character, and the story anticipates the
novel’s critique of the American dream. Despite
the power of Gatsby’s and Washington’s wealth,
neither man ultimately achieves his dreams.

“The incomparable milk of wonder” (GG, p.
86) which Gatsby seeks is prefigured by Fitzgerald’s
comment on John’s enjoyment of the Washingtons’
wealth:

It is youth’s felicity as well as its insufficiency
that it can never live in the present, but must
always be measuring up the day against its own
radiantly imagined future—flowers and gold,
girls and stars, they are only prefigurations and
prophecies of that incomparable, unattainable
young dream (p. 195).

This passage, in fact, could summarize the theme
of Fitzgerald’s entire canon.

CHARACTERS AND PLACE

Gygsum Slave who waits on John Unger during
his visit to Percy Washington’s home.

St. Midas' Fictional school near Boston which
John Unger and Percy Washington attend. St.
Midas’ is “the most expensive and the most exclu¬
sive boys’ preparatory school in the world” (p. 183).

Unger, John T. Boy from a town called Hades
who spends the summer with Percy Washington,
his classmate at St. Midas’.

Unger, Mr. and Mrs. John T. Unger’s parents,
who send their son to St. Midas’.

Washington, Braddock Tarleton Percy Wash¬
ington’s father, who owns a diamond mountain.

Washington, Mrs. Braddock T. Mother of
Percy, Jasmine, and Kismine Washington.

Washington, Fitz-Norman Culpepper Percy
Washington’s grandfather, who went West after the
Civil War and discovered a diamond mountain.

Washington, Jasmine Percy Washington’s sis¬
ter, who invited friends to visit even though she
knew they would be killed to keep the secret of the
diamond.

Washington, Kismine Percy Washington’s beau¬
tiful sister, who falls in love with John Unger.

Washington, Percy Wealthy boy who invites
John Unger to spend the summer at his family’s
home even though he knows John will be murdered
to keep the secret of the diamond.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

Buell, Lawrence. “The Significance of Fantasy in
Fitzgerald’s Short Fiction.” In The Short Stories of F.
Scott Fitzgerald: New Approaches in Criticism, edited
by Jackson R. Bryer (Madison: University of Wis¬
consin Press, 1982), 23-38.

Kelley, David J. F. “The Polishing of ‘Diamond,’”
Fitzgerald Newsletter 40 (Winter 1968).

“Diamond Dick and the First
Law of Woman”

Fiction. Written December 1923. Hearst’s INTER¬
NATIONAL 45 (April 1924), 58-63, 134, 136; The
Price Was High.

'Dice, Brass Knuckles & Guitar" 63

At age 10 Diana Dickey selected the name of
“Diamond Dick” as symbol of her “childish revolt
against the softness of life” ( The Price Was High, p.
80). (Diamond Dick was a character in the dime
novels of George Charles Jenks [1850-1929], who
wrote as W. B. Lawson.) At age 19 when she returns
from a year in the Red Cross in France in 1919, she
denies the rumor that she is engaged to Charley
Abbot, and she makes her debut and is a social suc¬
cess. Five years later Charley returns from PARIS,
and Diana sees him with actress Elaine Russel.
Diana demands that he join her family for dinner
the next evening; he comes and they discuss their
old love, but he leaves to return to Elaine. Diana
takes her father’s pistol and, resuming her child¬
hood persona of “Diamond Dick,” goes to Elaine’s
apartment to find Charley. She threatens to shoot
Elaine and Charley if they do not cooperate with
her. Diana reviews her relationship with Charley,
whose memory of the events just before his plane
crash in the war is unclear, and she begs him to
remember. She reveals that they were married five
years ago, and they soon have another wedding.

CHARACTERS

Abbot, Charley Injured war hero who for five
years forgets his marriage to Diana Dickey.

Dickey, Breck Diana Dickey’s younger brother,
who wants to get his pilot’s license.

Dickey, Diana Girl who takes the name of “Dia¬
mond Dick” at the age of 10 and later resumes that
persona to reclaim her husband, Charley Abbot.

Dickey, Mr. and Mrs. Diana Dickey’s parents.
Mr. Dickey offers Charley Abbot a job.

Russel, Elaine Actress who dates Charley Abbot
while he does not remember that he is married to
Diana Dickey.

“Diary of a Sophomore, The”

Humor article. T he PRINCETON Tiger 27 (March
17, 1917), 11; In His Own Time.

Account of a college student waiting to receive
bids from clubs.

“Dice, Brass Knuckles &
Guitar”

Fiction. Written January 1923. Hearst’s INTERNA¬
TIONAL 43 (May 1923), 8-13, 145-149; Bits of Par¬
adise (second edition—New York: Pocket Books,
1976); The Price Was High.

Jim Powell, a native of Tarleton, Georgia, goes
north for the summer with his body servant Hugo
and opens an academy, offering lessons in crap¬
shooting, self-defense, and guitar-playing to the
wealthy young people of Southampton, Long Island.
Once his school is established, he sends for Aman-
this Powell, whom he had met on his way north,
and offers to introduce her into society. While she
becomes a social success, Jim is still an outsider,
regarded as a servant. When he throws Martin Van
Vleck out of his school for drinking, two society
women accuse him of running an immoral estab¬
lishment and take all the girls home. Jim closes his
academy. On his last night in town, he has a date
with Amanthis, who reveals that the dance from
which he thinks they have both been excluded
is actually being given for her. She explains that
she has been visiting her cousins there and had
arranged for everyone to pretend not to know her.
She urges him to come again next year, but he
is eager to return to the South, where he feels at
home.

CRITICAL COMMENTARY

Fitzgerald described this story to Maxwell Perkins
as “Exuberant Jazz in my early manner” (June 1,
1925; Life in Letters, p. 121; Scott/Max, p. 112).
Like the trilogy of stories that Fitzgerald set in Tar¬
leton, it explores the differences between North
and South, this time in a northern setting and from
a comical perspective. “Dice, Brass Knuckles &.
Guitar” is also an early, humorous treatment of
the hardness of the rich—a theme Fitzgerald would
develop more frilly in The Great Gatsby. Amanthis’s

64 "Dice, Brass Knuckles & Guitar"

comment to Jim, “You’re better than all of them
put together” (p. 252), anticipates Nick Carraway’s
assessment of Jay Gatsby in GG.

At the beginning of his trip north, when Jim
discovers that he and Amanthis share the same last
name, he speculates that they may be related. He
explains that he comes from “mighty good people,”
though poor (p. 240). He asks if she would like to
be a New York society girl and says he will keep his
eyes open for her; later he emphasizes, “Us Powells
ought to stick together” (p. 241). He heads north
with “his own ambitions” (p. 242) but soon returns
after failing to make a taxi of his rattletrap car.
“Mighty proud lot of people they got up in New
York,” (p. 242), he comments.

After opening his jazz academy in Southampton
and successfully establishing Amanthis in society
there, Jim is distressed that although she has been
accepted, he is still an outsider. After class, his
pupils move “in another world” (p. 249), and he is
in the position of a “golf professional who, though
he may fraternize, and even command, on the links,
loses his privileges with the sun-down” (p. 249). Jim
lies awake at night listening to the music from par¬
ties, wondering what is wrong, and worrying about
the gap that separates him from the others.

Before the final big party of the season, to which
Jim had hoped to be invited, his students discuss
the upcoming festivities “with no more thought
of him than if he had been the family butler” (p.

249) . When Jim reprimands Martin Van Vleck
for drinking, the worrisome gap becomes obvious.
The students all like Jim, but “their sympathies
were divided—Van Vleck was one of them” (p.

250) . Van Vleck even chastises Jim, “Can’t you see
you’re just a servant?” (p. 250).

The North/South dichotomy and insider/out¬
sider theme converge when Jim reflects that “there
was nothing left for him except to go back where
he was known, where under no provocation were
such things said to white people as had been said to
him here” (p. 253).

For a short time, Jim feels like an insider when
he takes Amanthis to dinner on his last night
in Southampton, briefly feeling himself to be “a
romantic participant in the life around him” (p.
254). Even after the surprising opportunity to lead

his favorite band at the dance from which he has
initially been excluded, he follows through with
his plan to return home, aiming for Baltimore by
night because he wants to “sleep south tonight” (p.
256). Amanthis unconvincingly tries to persuade
him that riches are not a necessity for social success
up north any more than in Georgia, but he declines
to return to start another academy.

As Jim enters his familiar ramshackle car, his
whole manner changes, and he becomes dignified,
bowing farewell to Amanthis, “magnificently, pro¬
foundly, including the whole North in the splendor
of his obeisance” (p. 257).

CHARACTERS

Garneau, Mrs. Clifton Fashionable Southamp¬
ton woman who takes her daughter and other girls
out of Jim Powell’s jazz school.

Harlan, Genevieve Girl who attends Jim Pow¬
ell’s jazz school.

Harlan, Madison Ronald and Genevieve Har¬
lan’s father, who invites Jim Powell to lead the
band for one number at his party for Amanthis
Powell.

Harlan, Ronald Boy who attends Jim Powell’s
jazz school and who is given a drink by Martin Van
Vleck.

Hugo Jim Powell’s black body servant.

Katzby, Martha Sixteen-year-old girl who attends
Jim Powell’s jazz school.

Katzby, Mrs. Poindexter Southampton woman
who takes her daughter and other girls out of Jim
Powell’s jazz school.

Powell, Amanthis New Jersey girl whom Jim
Powell invites to his jazz school in Southampton.
She is the Harlans’ cousin.

Powell, Jim Southern young man who heads
North for the summer and opens an academy offer¬
ing lessons in dice, self-defense, jazz, and South-

"Does a Moment of Revolt Come Sometime to Every Married Man?" 65

ern accent. Apparently not the same character as
Jim Powell in “The Jelly-Bean”; they are both from
Tarleton, Georgia, and have the same name but
different personalities.

Van Vleck, Martin Young man who snubs Jim
Powell and is dismissed from Powell’s school for
drinking.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

“Director’s Special”

See “Discard.”

“Dirge (Apologies to
Wordsworth), A”

Humorous verse. Judge 77 (December 20, 1919),
30; In His Own Time; Poems.

Poem to a bar, now closed, that served liquor
before Prohibition. Parody of “She dwelt among
th’ untrodden ways .. .” by William Wordsworth
(1770-1850).

“Discard”

Fiction. Written July 1939. Harper’s Bazaar 82
(January 1948), 103, 143-144, 146, 148-149; The
Price Was High.

George Baker, who wants to be in the mov¬
ies, admires his aunt, actress Dolly Bordon, who
moves from Hollywood to New York to act on
the stage. A couple of years later, Dolly’s husband,
Count Hennen de Lanclerc, leaves her for actress
Phyllis Burns, whom he meets while sailing to
EUROPE. Dolly moves back to Hollywood and puts

her mortgaged house up for sale; Phyllis, who holds
the mortgage, wants to buy it. Dolly rejects a mar¬
riage proposal from director James Jerome because
she does not want to give up her acting career; she
wins a major role in a movie.

Fitzgerald’s title for this story was “Director’s
Special”; the title “Discard” was supplied by Harp¬
er’s Bazaar. This story led to Fitzgerald’s break with
his agent, Harold Ober, over Ober’s refusal to
resume his practice of advancing Fitzgerald money
against unsold stories.

CHARACTERS

Baker, George Dolly Bordon’s nephew, a stu¬
dent at a military school. He wants to be in the
movies, and he is impressed by the way in which
Dolly handles her husband’s infidelity.

Bordon, Dolly (Countess de Lanclerc) Actress
whose husband, Count Hennen de Lanclerc, leaves
her for Phyllis Burns.

Burns, Phyllis Actress for whom Count Hennen
de Lanclerc leaves his wife, Dolly Bordon.

de Lanclerc, Count Hennen Dolly Bordon’s
husband, who leaves her for Phyllis Burns.

Jerome, James Movie director who is in love
with actress Dolly Bordon.

Martha Passenger on the ship on which George
Baker and Count Hennen de Lanclerc travel to
Europe.

“Does a Moment of Revolt
Come Sometime to Every
Married Man?”

Article. McCall’s 51 (March 1924), 21, 36; In His
Own Time. Published with companion article with
the same title by Zelda Fitzgerald.

Fitzgerald suggests three reasons why husbands
“revolt.” First, as soon as they marry, they become

66 "Does a Moment of Revolt Come Sometime to Every Married Man?'

“intensely self-conscious” about their wives and
urge them to behave more conservatively. Second,
they begin to realize that the welfare of the entire
household depends on them. Third, they reach a
stage of wanting to rest at home at night after
working hard all day.

“Does a Moment of Revolt
Come Sometime to Every
Married Man?”

Article by ZELDA FITZGERALD. McCall’s 51 (March
1924), 82; Zelda Fitzgerald: The Collected Writings.
Published with companion article with the same
title by F. Scott Fitzgerald.

Asserts that “theoretically ... every happy
bridegroom revolts at the altar and from then on
goes revolting through life with varying degrees of
violence until his final revolt against life helps him
briskly to extinguish himself’ ( Collected Writings,
p. 395).

“Early Success”

Autobiographical essay. American Cavalcade 1 (Octo¬
ber 1937), 74-79; The Crack-Up.

Recollection of Fitzgerald’s intertwined struggles
to win Zelda Sayre [Fitzgerald] and to write his
first novel. He recounts both the sense of “ineffa¬
ble toploftiness and promise” (CL7, p. 86) that was
brought by the acceptance of This Side of Paradise
for publication and by how Princeton’s negative
reaction to the novel took the joy out of his suc¬
cess. He traces his evolution from amateur writer
to professional who was conscious of all his expe¬
riences as material for fiction, and he shares the
“conviction that life is a romantic matter” (p. 89),
which resulted from his early success. Years later,
however, he is a different person who has no more
dreams of his own; and he looks back longingly to
the time “when the fulfilled future and the wistful

past were mingled in a single gorgeous moment—
when life was literally a dream” (p. 90).

“Echoes of the Jazz Age”

Essay. Scribner’s Magazine 90 (November 1931),
459-465; The Crack-Up.

Fitzgerald nostalgically recalls how the JAZZ Age
“bore him up, flattered him and gave him more
money than he had dreamed of, simply for tell¬
ing people that he felt as they did, that something
had to be done with all the nervous energy stored
up and unexpended in the War” (CL7, p. 13). He
then traces the development of the decade, which
he characterizes thus: “It was an age of miracles,
it was an age of art, it was an age of excess, and
it was an age of satire” (p. 14). He explores the
hedonism of an age that is marked by the loosening
of sexual standards and an abundance of alcohol—
despite Prohibition—and its decline into neurosis,
violence, and wandering abroad. The essay con¬
cludes with a sense of loss “because we will never
feel quite so intensely about our surroundings any
more” (p. 22).

“Emotional Bankruptcy”

Fiction—Josephine Perry story. Written June 1931.
The Saturday Evening Post 204 (August 15,
1931), 8-9, 60, 65; The Basil and Josephine Stories.

Josephine Perry and Lillian Hammel attend
the Princeton prom, where Josephine spends time
with Louie Randall and Martin Munn in addi¬
tion to her date, Paul Dempster. She tells Lillian
how bored she has become with men because she
realizes that she has been in control of all of her
relationships. Josephine falls in love with Captain
Edward Dicer and believes that she has finally
found the right man. However, when he declares
his love for her, Josephine feels nothing, for she
has already had everything and has nothing left
to give him.

'Emotional Bankruptcy" 67

CRITICAL COMMENTARY

“Emotional Bankruptcy” is one of a series of five
Josephine stories written in 1930 and 1931; the
others are “First Blood,” “A Nice Quiet Place,”
“A Woman with a Past,” and “A Snobbish Story.”
The Josephine stories are weaker than the Basil
Duke Lee stories, partly because the Basil stories
are highly autobiographical and thus felt more
strongly, and partly because Fitzgerald wrote the
Josephine stories during a time of great worry after
Zelda Fitzgerald suffered a mental breakdown
and entered a sanitarium. Nevertheless, they are
noteworthy for the characteristic seriousness with
which Fitzgerald treats the concerns of youth.

“Emotional Bankruptcy” opens with the exu¬
berance of the wildly popular Josephine and the
dreams and expectations of youth, “the hope
that lay just ahead, the goal of happiness almost
reached . . . the atmosphere of infinite promise”
(p. 548). Josephine thrills at the excitement of
juggling multiple admirers, but when she kisses
Martin Munn, she is surprised to discover that,
for the first time in her life, she has no feeling
about a man she kisses. For the rest of the eve¬
ning, she seems to “float in a detached dream”
where all the men are “as unreal as sticks” (p.
550). Fitzgerald comments, “It had been like that
for almost a year—a game played with technical
mastery, but with the fire and enthusiasm gone”
(P- 551).

When Josephine meets Edward Dicer, she lacks
confidence for the first time in her life. During their
first conversation, however, she realizes that “all her
life had pointed toward this moment” (p. 553) and
that her smile expresses “all the potential joy that
existed between them” (p. 554). About a month
later, when he visits her to tell her he loves her
and declare his intentions, they are both alarmed
to discover that, although he is everything she has
always wanted, she feels nothing at all. Josephine
reflects that she has already had everything. Dicer
leaves in frustration, and Josephine realizes: “One
cannot both spend and have. The love of her life
had come by, and looking in her empty basket, she
had found not a flower left for him—not one.” The
story ends with her alone and wailing, “Oh, what

have I done to myself? What have I done? What
have I done?” (p. 560).

The concept of emotional bankruptcy intro¬
duced in this story was a key idea for Fitzgerald, who
believed that squandering one’s emotional capital on
trivial relationships leaves one unable to respond to
the things that are worthy of deep emotion. It is both
ironic and fitting that Fitzgerald used a financial met¬
aphor to express one of his theories of human behav¬
ior, since money issues were a crucial element of his
life and career. He explored the concept of emotional
bankruptcy further in his later work, including “Bab¬
ylon Revisited” and Tender Is the Night.

CHARACTERS

Bement, Ed Josephine Perry’s earliest beau, from
dancing-school days. He arrives at Josephine’s
house at the same time as does Edward Dicer. This
character also appears in “First Blood,” “A Nice
Quiet Place,” “A Woman with a Past,” and “A
Snobbish Story.”

de Coppet, Travis Travis arrives at Josephine’s
house at the same time as does Edward Dicer. This
character also appears in “First Blood.”

Dempster, Paul Josephine Perry’s date for the
Princeton prom. He is eventually offended by her
excessive attention to Louie Randall.

Dicer, Christine Josephine Perry and Lillian
Hammel meet Christine’s cousin, Edward Dicer,
while waiting for dinner at her house.

Dicer, Captain Edward Christine Dicer’s cousin,
an officer in the French aviation during World War
I. He falls in love with Josephine Perry, who believes
she has finally found the right man. However, when
he declares his love, she feels nothing and has noth¬
ing left to give him, for she has used up her emo¬
tional capacity in previous trivial relationships.

Dillon, Mr. and Mrs. Warren Old friends who
arrive at the Perrys’ house to meet Constance
Perry just before Edward Dicer arrives to see Jose¬
phine Perry.

68 "End of Hate, The"

Hammel, Lillian Josephine Perry’s friend, who
attends the Princeton prom, where Josephine steals
away with Lillian’s date, Martin Munn. She is with
Josephine when they meet Edward Dicer. This
character also appears in “First Blood,” “A Nice
Quiet Place,” “A Woman with a Past,” and “A
Snobbish Story.”

Munn, Martin Lillian Hammel’s date at the
Princeton prom. He and Josephine Perry steal away
to a dark room, but she does not enjoy his kiss, and
she realizes that this is the first time that she has
had no feeling at all about a man she is with.

Perry, Constance Josephine Perry’s older sister.
Mr. and Mrs. Warren Dillon arrive at the Perry
home to visit Constance just before Edward Dicer
comes to see Josephine; Constance eventually leads
her guests upstairs so that Edward and Josephine
can be alone. This character also appears in “First
Blood” and “A Nice Quiet Place.”

Perry, Josephine See entry for this character
under The Basil and Josephine Stories.

Randall, Louie Boy whom Josephine Perry asks
to show up at the Princeton prom even though
she has a date with Paul Dempster. She pretends
that she did not know that Louie would follow her
there, but she spends time with him all weekend.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

“End of Hate, The”

Fiction. Collier’s 105 (June 22, 1940), 9-10, 63-
64; The Price Was High.

In summer 1936 Fitzgerald wrote a story titled
“Thumbs Up” based on his father’s memories of the
Civil War. Thirteen magazines declined it before
Kenneth LittAUER of Collier’s paid $1,500 in 1937
against an acceptable rewrite. Littauer rejected at

least two revisions before accepting the version
called “The End of Hate” in June 1939, when he
paid the remaining $1,000 due. Other titles Fitzger¬
ald considered for the story include “When This
Cruel War—,” “Dentist Appointment,” “No Time
for That,” “Two Minutes Alone,” “Midst War’s
Alarms,” “That Can Wait,” and “Of All Times.”

During the Civil War, Captain Doctor Pilgrim
and his sister, Josie Pilgrim, are traveling south from
Ohio, unaware that the Confederates hold the ter¬
ritory they are entering. Confederate soldier Tib
Dulany takes them to a house where Doctor Pilgrim
is asked to pull Prince Napoleon’s tooth, and Josie
and Tib become interested in each other. When
Union cavalry approach, Doctor Pilgrim alerts them
to the presence of Rebel soldiers under the com¬
mand of Colonel John Mosby (1833-1916), a Con¬
federate leader who is particularly hated by Union
troops. The Yankees string Tib up by his thumbs;
later Josie cuts him down and drives away with him,
and they plan to be married. When Tib discovers
that Doctor Pilgrim has amputated his thumbs, he
leaves Josie in anger, accusing her of trying to pay
for what her brother did. Just after the war ends, he
seeks out Doctor Pilgrim, planning to shoot off his
thumbs, but Josie intervenes, and she and Tib again
plan to be married.

In February 1940 Fitzgerald unsuccessfully tried
to interest Edwin Knopf, a story editor at MGM, in
an idea for a Civil War movie based on “The End
of Hate” and “The Night before Chancellorsville”
(see Life in Letters, pp. 430-431).

CHARACTERS

Dulany, Tib Confederate soldier who falls in love
with Josie Pilgrim, an Ohio girl.

Early, General Jubal (1816-1894) Historical
figure and character in “The End of Hate.” Confed¬
erate general who instructs Doctor Pilgrim to pull
Prince Napoleon’s tooth.

Napoleon, Prince Napoleon Bonaparte’s cousin,
who invites Doctor Pilgrim to practice in Paris after
Pilgrim pulls a tooth for him. Possibly based on
Napoleon III (Louis Napoleon Bonaparte, 1808-73),
the nephew of Napoleon Bonaparte (1769-1821).

'Family Bus, The" 69

Pilgrim, Captain Doctor Ohio physician who
amputates Confederate soldier Tib Dulany’s
thumbs.

Pilgrim, Josie Ohio girl who falls in love with
Confederate soldier Tib Dulany.

Taswell, Captain Union officer whose marriage
proposal Josie Pilgrim refuses.

Wash Confederate soldier who is killed by Union
cavalry.

“Eulogy on the Flapper”

Article by Zelda Fitzgerald. Metropolitan
Magazine 55 (June 1922), 38-39; Zelda Fitzgerald:
The Collected Writings.

Zelda notes that the characteristics that origi¬
nally set apart the flapper have now become com¬
monplace: “Flapperdom has become a game; it is
no longer a philosophy” ( Collected Writings, p. 392).
When the flapper first appeared, she was distin¬
guished thus: “She flirted because it was fun to
flirt and wore a one-piece bathing suit because she
had a good figure; she covered her face with pow¬
der and paint because she didn’t need it and she
refused to be bored chiefly because she wasn’t bor¬
ing” (p. 391).

Evil Eye, The

Seventeen song lyrics. Cincinnati, New York &
London: The John Church Co., 1915. A two-act
musical comedy presented by the PRINCETON TRI¬
ANGLE CLUB; opening performance December 18,
1915. Book by Edmund Wilson; music by Paul
B. DlCKEY and F. Warburton Guilbert; lyrics by
Fitzgerald: Act I—“Opening,” “I’ve Got My Eyes on
You,” “On Dreams Alone,” “The Evil Eye,” “What
I’ll Forget,” “Over the Waves to Me,” “On Her
Eukalali,” “Jump Off the Wall,” “Finale”; Act II—
“Opening,” “Harris from Paris,” “Twilight,” “The

Never, Never Land,” “My Idea of Love,” “Other
Eyes,” “The Girl of the Golden West,” “With Me.”
Lyrics reprinted in In His Own Time and Poems.

The show was set in a Normandy fishing vil¬
lage and concerned an amnesiac shipwreck survi¬
vor and her rescuer, reputed to have the evil eye.
Fitzgerald’s failure of a make-up exam in quali¬
tative analysis made him ineligible to perform in
the show, which opened on December 18, 1915.
However, he was involved with the production,
writing new lyrics on demand during rehearsals,
and there was a publicity photo of him in a show¬
girl costume.

“Family Bus, The”

Fiction. Written September 1933. The SATURDAY
Evening Post 206 (November 4, 1933), 8-9, 57,
61-62, 65-66; The Price Was High.

Dick Henderson and his family’s gardener’s
daughter, Jannekin Melon-Loper, are great friends
throughout their childhood. However, when Dick’s
older brother, Ralph Henderson, is killed in a car
wreck while attempting to elope with Jannekin’s
sister, Kaethe Melon-Loper, the gardener’s fam¬
ily moves away. Six years later Dick encounters
Jannekin again in high school where his frater¬
nity brothers, who resent his superior social back¬
ground and regard him as a snob, deface the old
family car he drives. Jannekin’s family becomes
well-to-do and rises socially; Dick’s family becomes
poor, and he takes a job in an automobile plant
in Detroit. He learns that the old family car was
one of six with a special intake manifold that the
manufacturer wishes to recover. Dick learns that
Jannekin had bought the car but her chauffeur
had resold it. Dick and Jannekin finally locate the
stripped-down car and take it for a ride together.

CHARACTERS AND A PLACE
Bronson, Edgar Member of Dick Henderson’s
fraternity who calls Dick a snob and defaces his car.

Flint, Bill Man who tells Dick Henderson that
the Henderson family car is one of six with a special

70 "Family in the Wind'

intake manifold that the manufacturer’s engineers
are eager to see.

Henderson, Dick Young man who has a long
and friendly relationship with Jannekin Melon-
Loper over the years and throughout the changes
in their families’ fortunes.

Henderson, Ralph Dick Henderson’s older
brother, who is killed in a car wreck while attempt¬
ing to elope with Kaethe Melon-Loper.

Henderson, Mrs. T. R. Dick and Ralph Hender¬
son’s mother, who is displeased to see Ralph riding
away with Kaethe Melon-Loper.

Henderson, T. R. Dick and Ralph Henderson’s
father, who tries to catch up with Kaethe Melon-
Loper and Ralph but encounters a policeman who
informs him that Ralph has been killed in a car
wreck.

Howard The T. R. Hendersons’ chauffeur, who
teaches Dick Henderson about cars.

McCaffray Engineer who designed the intake
manifold on the T. R. Hendersons’ family car.

Melon-Loper, Jan The T. R. Hendersons’ gar¬
dener, who later prospers in industry.

Melon-Loper, Mrs. Jan Jannekin and Kaethe
Melon-Loper’s mother, who is displeased to see
Kaethe ride away with Ralph Henderson.

Melon-Loper, Jannekin (Janny) Gardener’s
daughter who has a long and friendly relationship
with Dick Henderson over the years and through¬
out the changes in their families’ fortunes.

Melon-Loper, Kaethe Jannekin Melon-Loper’s
older sister, who escapes uninjured from the car
wreck that kills Ralph Henderson.

St. Regis Fictional prep school in This Side of
Paradise, “The Family Bus,” “Inside the House,”
“The Swimmers,” “The Freshest Boy” and “The

Perfect Life”; based on the Newman SCHOOL. In
“The Family Bus,” St. Regis is described as “Amer¬
ica’s most expensive school” (The Price Was High,
p. 497).

Sedgewick, Earl Boy at whose house Dick Hen¬
derson’s high school classmates assemble for the
Harvest Picnic. While Dick is there, his fraternity
brothers paint insulting slogans on his car.

“Family in the Wind”

Fiction. Written April 1932. The SATURDAY EVE¬
NING Post 204 (June 4, 1932), 3-5, 71-73; Taps
at Reveille.

Gene Janney urges his brother, Forrest Janney,
an alcoholic doctor who now runs a drugstore in
his Alabama hometown, to operate on Gene’s son
Pinky Janney, who has been shot. Forrest agrees
to look at Pinky but refuses to operate because
of his resentment of Pinky’s treatment of Mary
Decker, a girl whom Forrest had secretly loved
but who had run away with Pinky. When Pinky
had tired of her, he had turned her out, and she
had died of starvation. After Forrest leaves his
brother’s house, a tornado devastates the town.
When Pinky shows up at the hospital where For¬
rest is helping tornado victims, Forrest agrees to
operate on him after all. A second tornado hits
the town the same day, and Forrest decides to
leave town and possibly resume his medical prac¬
tice in the city. He plans to assume responsibility
for Helen Kilrain, a little girl who is orphaned by
the storm.

CHARACTERS

Behrer, Doctor Incompetent doctor whom For¬
rest Janney dislikes.

Cupp, Walter Man whose house was destroyed
by the second tornado.

Decker, Mary Girl whom Forrest Janney secretly
loved, but who ran away with Pinky Janney, who
later abandoned her.

'Fate in Her Hands" 71

Janney, Butch Gene and Rose Janney’s son, who
rebukes Forrest Janney for the way he had spoken
to Rose.

Janney, Forrest Alcoholic doctor who gives up
his medical practice and returns to his small Ala¬
bama hometown to run a drugstore.

Janney, Gene Forrest Janney’s brother.

Janney, Pinky Gene and Rose Janney’s worthless
son, who has been shot in the head.

Janney, Rose Gene Janney’s wife, who resents
Forrest Janney’s attitude toward her son, Pinky
Janney.

Kilrain, Helen Eight-year-old girl who is devoted
to her cat and who is orphaned by the second
tornado.

“Far-seeing Skeptics, The”

The Smart Set 67 (February 1922), 48. Excerpt
from The Beautiful and Damned, Book Two, Chap¬
ter II, “Symposium.”

“Fate in Her Hands”

Fiction. Written June-July 1935. The American
Magazine 121 (April 1936), 56-59, 168-172; The
Price Was High.

When Carol [Kastler] is 19, a fortune-teller
says that she will be married that month, that she
will acquire great notoriety in about three years,
and that something very bad will happen to her
and her family in about six years in May. Wanting
to disprove the predictions, Carol refuses to marry
her fiance, Billy Riggs, until New Year’s morn¬
ing. On the way to the wedding, Billy’s friend Ben
Kastler declares his love for Carol; she marries him
just before midnight on New Year’s Eve. Three
years later Carol is reminded of the second pre¬

diction, and when a photographer for a tabloid
newspaper snaps her picture with a ragged woman
outside a Junior League function, she worries that
her possible depiction as stingy and uncaring may
harm Ben’s chances of being selected as the new
president of his university. She decides to leave
town for a week and leaves a note of explanation
for Ben. On her way home, she learns that her
maid has not delivered the note but rather asked
for ransom for Carol’s alleged kidnapping. Since
Ben has just been named university president, the
event makes newspaper headlines, fulfilling the
second prophecy. Several years later Carol locates
the original palmist, who reiterates her third pre¬
diction but tells her to forget it. When Ben escapes
injury in his office building, which collapses shortly
after he leaves it, Carol is relieved and allows her
daughter, Jean Kastler, to climb a tree, which pro¬
tects Jean from being bitten by a rabid dog. At the
end of the story, there are six more hours until
the first day of June, when the prophecy will have
passed.

Fitzgerald’s working title for this story was
“What You Don’t Know.” The story was influ¬
enced by palmist LAURA GUTHRIE, whom he met
in ASHEVILLE, North Carolina, while he was writ¬
ing it.

CHARACTERS

Dickey, Harry Man in whom Carol Kastler was
interested before the appearance of Billy Riggs.

Emma Maid who informs Carol Kastler of Jean
Kastler’s narrow escape from a mad dog.

fortune-teller (unnamed) Palmist who makes
three predictions about Carol [Kastler] which
influence Carol’s decisions and actions over the
next several years. Based on Laura Guthrie.

George Child who is bitten by the mad dog from
which Jean Kastler narrowly escapes.

Kastler, Professor Benjamin (Ben) Billy Riggs’s
friend, a college professor whom Carol [Kastler]
marries instead of Billy.

72 "Feather Fan, The"

Kastler, Carol Woman whose decisions and
actions for several years are influenced by three
predictions of a fortune-teller.

Kastler, Jean Ben and Carol Kastler’s daughter,
who narrowly escapes being bitten by a mad dog.

Kenyon, Mary Friend with whom Carol Kastler
spends four days in an isolated cabin while trying to
avoid publicity.

Riggs, Billy Fiance of Carol [Kastler], who aban¬
dons him for Ben Kastler.

Spillman, Mr. Ben Kastler’s secretary, who tele¬
phones to say that Ben’s office building collapsed
shortly after he left.

Uncle Jim Carol Kastler’s uncle, a minister
whom she persuades to perform her wedding to
Ben Kastler just minutes before she is scheduled to
marry Billy Riggs.

Wheelock, Mrs. University dean’s wife who tells
Carol Kastler that Ben Kastler is sitting in his office
during nearby blasting.

“Feather Fan, The”

Movie treatment. Fitzgerald/Hemingway Annual
(1977), pp. 3-8.

Probably in 1939, Fitzgerald wrote a treatment
that he submitted to MGM for a movie set in 1919
about a Vassar student who finds a feather fan that
will grant wishes. His proposal was declined.

Fie! Fie! FFFi!

Seventeen song lyrics. Cincinnati, New York &
London: The John Church Co., 1914; facsimile of
acting script and song book (Columbia: University

of South Carolina Press for the Thomas Cooper
Library, 1996). A two-act musical comedy pre¬
sented by the PRINCETON TRIANGLE Club; opening
performance December 19, 1914. Music by D. D.
Griffin, A. L. Booth, and PAUL B. DlCKEY; lyrics by
Fitzgerald: Act I—“Opening Chorus,” “Gentlemen
Bandits We,” “A Slave to Modern Improvements,”
“In Her Eyes,” “What the Manicure Lady Knows,”
“Good-night and Good-bye,” “Round and Round,”
“Chatter Trio,” “Finale”; Act II—“Rose of the
Night,” “Men,” “In the Dark,” “Love or Eugenics,”
“Reminiscence,” “Fie! Fie! Fi-Fi!,” “The Monte
Carlo Moon,” “Finale.” Lyrics reprinted in In His
Own Time and Poems.

Triangle Club president WALKER Ellis revised
Fitzgerald’s book with Fitzgerald and awarded
himself sole credit for dialogue and characters.
Fitzgerald corrected the credits in his own copy
of the program to read: “Book and lyrics by F.
Scott Fitzgerald, 1917. Revision by Walker Ellis,
1915.”

The plot involves an American con man, now
prime minister of Monaco, and his abandoned
wife, a hotel manicurist in Monte Carlo, whose
role was played by Ellis. Fitzgerald was cast as a
dancer in a love subplot, but he failed a make-up
exam in coordinate geometry and was excluded
from extracurricular activities, including the Tri¬
angle Club’s 3,500-mile Christmas tour after a pre¬
miere at Princeton on December 19, 1914. The
Baltimore Sun noted, “The lyrics of the songs were
written by F. S. Fitzgerald, who could take his
place right now with the brightest writers of witty
lyrics in America” (scrapbook, PRINCETON UNIVER¬
SITY Library) .

The play was produced at the University of
South Carolina in 1996 to celebrate the CENTEN¬
NIAL of Fitzgerald’s birth; a video of the premiere
performance is available from the University of
South Carolina Press. The song book for Fie! Fie!
Fi-Fi! was previously procurable for about $2,000-
3,000, but there were only two copies of the acting
script, and only one copy with Fitzgerald’s extra
lyrics. The 1996 facsimile of the song book and
acting script makes these items readily available to
collectors and scholars.

"First Blood" 73

“Fiend, The”

Fiction. Written September 1934. ESQUIRE 3 (Janu¬
ary 1935), 23, 173-174; Taps at Reveille.

Crenshaw Engels seeks revenge on the fiend
who murdered his wife and son. When his attempts
to kill the murderer or have him sentenced to capi¬
tal punishment fail, Engels resorts to psychological
revenge. He begins by threatening the Fiend with
the torments of hell and by bringing him horrifying
and frustrating books to read. He then changes his
tactics to raising false hopes of release or false fears
of execution and threatening to kill the Fiend him¬
self. After 30 years Engels, fearing that the Fiend
may oudive him, determines to shoot him so that
he will die slowly and painfully. When he arrives at
the Fiend’s cell with a smuggled pistol, he finds the
man doubled over in pain. Engels calls for a doctor,
but the Fiend dies of a ruptured appendix. Shocked
and despairing, Engels speaks of the Fiend as “my
only friend” and laments that he is alone.

CHARACTERS

Engels, Crenshaw Man who seeks revenge on
the fiend who murdered his wife and son but grows
dependent on his relationship with the killer.

Engels, Mrs. Crenshaw Crenshaw Engels’s mur¬
dered wife.

Engels, Mark Mr. and Mrs. Crenshaw Engels’s
seven-year-old son, who was murdered with his
mother.

the Fiend Murderer of Mrs. Crenshaw Engels
and Mark Engels.

“Financing Finnegan”

Fiction. Written June 1937. ESQUIRE 9 (January
1938), 41,180, 182, 184; Stories.

Literary agent Mr. Cannon and editor George
Jaggers lend money to Finnegan, a brilliant author
who has lately been unproductive. The narra¬

tor overhears Cannon and Jaggers discussing
Finnegan’s prospects and realizes that “the two
men had entered into a silent conspiracy to cheer
each other up about Finnegan” (p. 742). Cannon
and Jaggers finance Finnegan’s trip to the North
Pole, and he assigns his life insurance to them.
Finnegan’s party is reported lost in a blizzard; he
is presumed dead. His son, who writes poetry, asks
Jaggers for money. Finnegan turns up in Norway
and cables Cannon to send him money for return
passage.

Fitzgerald wrote this story partly as a joke about
his financial dependence on editor MAXWELL PER¬
KINS and agent HAROLD Ober.

CHARACTERS

Cannon, Mr. Literary agent who lends money to
author Finnegan. Based on Harold Ober.

Finnegan Talented author who is no longer pro¬
ductive and who lives on loans from his agent, Mr.
Cannon, and his editor, George Jaggers.

Jaggers, George Editor who lends money to
author Finnegan. Based on Maxwell Perkins.

narrator (unnamed) Writer who has the same
agent and editor as Finnegan.

“First Blood”

Fiction—Josephine Perry story. Written January
1930. The Saturday Evening Post 202 (April 5,
1930), 8-9, 81, 84; Taps at Reveille; The Basil and
Josephine Stories.

Josephine Perry’s sister, Constance Perry, com¬
plains to their mother about Josephine’s behav¬
ior with Travis de Coppet. Josephine falls in love
with Anthony Harker, who is several years older
than she is. Anthony, who is uneasy about being
seen with Josephine, breaks off their relation¬
ship but then sends her a passionate letter, which
she destroys. Anthony frantically courts her until
his family sends him West. Josephine resolves to
behave better.

74 Flappers and Philosophers

CHARACTERS

Bement, Ed Josephine Perry’s earliest beau,
from dancing-school days. He drives Josephine to
and from her meetings with Anthony Harker. He
believes that anyone as beautiful as Josephine could
never do anything really wrong. This character
also appears in “A Nice Quiet Place,” “A Woman
with a Past,” “A Snobbish Story,” and “Emotional
Bankruptcy.”

Bray, Mrs. Josephine Perry’s mother’s friend,
who has a bad opinion of Josephine.

de Coppet, Travis Travis and Josephine go for a
car ride, but Josephine no longer wants to kiss him
because she is now interested in Anthony Harker.
The previous summer, Josephine and Travis had
tried to elope but could not find a minister. This
character also appears in “Emotional Bankruptcy.”

Dillon, Jackson Josephine Perry, Constance
Perry, and their mother attend this young man’s
wedding to Mary Jackson.

Hammel, Lillian Against the orders of their
parents, Lillian and Josephine Perry go for a car
ride with Howard Page and Travis de Coppet. This
character also appears in “A Nice Quiet Place,”
“A Woman with a Past,” “A Snobbish Story,” and
“Emotional Bankruptcy.”

Harker, Anthony A 22-year-old man with whom
16-year-old Josephine Perry falls in love. At first
he is uneasy about being seen with Josephine and
breaks off their relationship, but then he courts her
frantically until his family sends him West.

Jackson, Mary Josephine Perry, Constance
Perry, and their mother attend Mary’s wedding to
Jackson Dillon. Josephine, impressed by the purity
of the bride, resolves to behave better.

McRae, Mrs. Jenny Woman who did not want
to invite Josephine Perry to that year’s dancing class
because Josephine’s reputation was so bad and who
invited her only because of her sister, Constance

Perry. This character also appears in “A Snobbish
Story.”

Page, Howard He goes for a car ride with Lillian
Hammel, Travis de Coppet, and Josephine Perry.
This character also appears in “A Snobbish Story.”

Perry, Constance Josephine Perry’s older sister,
who complains to her mother about Josephine’s
behavior and is offended by Josephine’s interest in
Anthony Harker. This character also appears in “A
Nice Quiet Place” and “Emotional Bankruptcy.”

Perry, Mr. and Mrs. George (Herbert T.) Jose¬
phine Perry’s parents, who decide to send Josephine
east to school after the first of the year. These char¬
acters also appear in “A Nice Quiet Place,” “A
Woman with a Past,” and “A Snobbish Story.”

Perry, Josephine See entry for this character
under The Basil and Josephine Stories.

Whaley, Marice Girl whom Anthony Harker
could marry if he wanted to. She rebukes Anthony
for his interest in Josephine Perry and tells him that
Josephine has a bad reputation.

Flappers and Philosophers

Story collection. New York: Charles Scribner’s
Sons, 1920; London: Collins, 1922. Dedication:
“TO ZELDA.” Contents: “The Offshore Pirate,”
“The Ice Palace,” “Head and Shoulders,” “The
Cut-Glass Bowl,” “Bernice Bobs Her Hair,” “Bene¬
diction,” “Dalyrimple Goes Wrong,” “The Four
Fists.” Published on September 10, 1920, in a first
printing of 5,000 copies at $1.75, with a dust jacket
illustrated by W. E. Hill (see p. 18).

Fitzgerald’s first story collection sold well—by
November 1922 there were six printings totalling
15,325 copies—but received mixed reviews. H. L.
MENCKEN called Fitzgerald “curiously ambidex¬
trous” and was one of the earliest critics to note
the split between his roles as entertainer and seri-

'Flight and Pursuit" 75

0 OMRI1S SCRIBNFKSSONS/y)
IIHII AVLAIWStN£W«*»'G'

Dust jacket for Fitzgerald's first short-story collection, published in 1920. The illustration was inspired by "Bernice
Bobs Her Hair." (Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina)

ous novelist ( The Smart Set, 63 [December 1920],
140; F. Scott Fitzgerald: The Critical Reception, p.
48).

Fitzgerald sent Mencken an inscribed copy of
Flappers and Philosophers with his own ranking of
the stories: “Worth reading: ‘The Ice Palace,’ ‘The
Cut Glass Bowl,’ ‘Benediction,’ ‘Dalyrimple Goes
Wrong’; Amusing: ‘The Offshore Pirate’; Trash:
‘Head + Shoulders,’ ‘The Four Fists,’ ‘Bernice Bobs
her Hair’ (Life in Letters, p. 42). Other titles which
Fitzgerald considered for this volume were “We are
Seven,” “Table D’hote,” “A La Carte,” “Journeys and
Journey’s End,” “Bittersweet,” and “Short Cake.”

“Flight and Pursuit”

Fiction. Written April 1931. The SATURDAY EVE¬
NING Post 204 (May 14, 1932), 16-17, 53, 57; The
Price Was High.

Virginia belle Caroline Martin [Corcoran]
elopes with George Corcoran after she is jilted by
Sidney Lahaye. George and Caroline move to Ohio
to live with his mother, Mrs. Corcoran, who dis¬
likes Caroline. After three years of unhappiness,

Caroline receives a telephone call from Lahaye,
whom she tells to leave her alone. When the phone
rings again the next day, she takes her young son,
Dexter Corcoran, and runs away. Two years later
Caroline, who is working in New York as a ste¬
nographer, encounters Lahaye while visiting her
friend Evelyn Murdock and rebukes him for his
treatment of her. A few months later she takes
a job as private secretary and traveling compan¬
ion to Helen O’Connor. During her three years’
employment with Mrs. O’Connor, Caroline begins
to drink and stay out late, and she contracts tuber¬
culosis. Lahaye, who had employed Mrs. O’Connor
to hire Caroline, shows up and takes Caroline to a
sanitorium, where she begins to recuperate. Several
months later, when Caroline reads in the newspa¬
per that Lahaye may be lost at sea, she realizes that
she loves him. She then receives a telegram that
he is alive, and she summons him to her, declaring
her love.

CHARACTERS

Corcoran, Caroline Martin Virginia belle who
is unhappily married to George Corcoran but is
reunited with her real love, Sidney Lahaye, years
later after leaving Corcoran.

76 "'Football”

Corcoran, Dexter Son of Caroline and George
Corcoran.

Corcoran, George Lieutenant from Ohio who
marries Caroline Martin [Corcoran].

Corcoran, Mrs. George Corcoran’s domineering
mother, who dislikes his wife, Caroline Corcoran.

Lahaye, Sidney Man who regrets jilting Caroline
Martin [Corcoran] and contacts her through the
years until she discovers that she still loves him.

Murdock, Evelyn Caroline Martin Corcoran’s
friend, at whose home she encounters Sidney
Lahaye several years after her marriage to George
Corcoran.

O'Connor, Helen Woman who is employed by
Sidney Lahaye to hire Caroline Corcoran as a pri¬
vate secretary and traveling companion.

“ ‘Football’ ”

Verse. The Newman News 9 (Christmas 1911?),
19; In His Own Time; Poems.

Fitzgerald wrote this 36-line poem, his first
known contribution to The Newman News, after
disgracing himself on the football field. Years later
he explained the circumstances:

I remember the desolate ride in the bus back to
the train and the desolate ride back to school
with everybody thinking I had been yellow
on the occasion, when actually I was just dis¬
tracted and sorry for the opposing end. That’s
the truth. I’ve been afraid plenty of times but
that wasn’t one of the times. The point is it
inspired me to write a poem for the school
paper which made me as big a hit with my
father as if I had become a football hero. So
when I went home that Christmas vacation
it was in my mind that if you weren’t able to
function in action you might at least be able to
tell about it, because you felt the same inten¬

sity—it was a back door way out of facing real¬
ity. (“Author’s House,” July 1936; Afternoon of
an Author, pp. 185-186)

“Forging Ahead”

Fiction—Basil Duke Lee story. Written January
1929. The Saturday Evening Post 201 (March
30, 1929), 12-13, 101, 105; Afternoon of an Author;
The Basil and Josephine Stories.

Basil Duke Lee, age 16, decides to work his way
through Yale after his mother tells him she can¬
not afford to send him there. After a two-day stint
at a railroad job, Basil takes a summer job at his
uncle Benjamin Reilly’s wholesale drug company.
Escorting Reilly’s unattractive stepdaughter, Rhoda
Sinclair, turns out to be part of the job. Minnie Bib-
ble, who is visiting in town, does not understand
why Basil pays so little attention to her, but when
Basil’s family’s improved finances free him from the
necessity of pleasing his uncle, he and Minnie are
reunited.

CHARACTERS

Bibble, Ermine Gilberte Labouisse (Minnie)

Girl who is distressed by Basil Duke Lee’s atten¬
tion to Rhoda Sinclair. This character also appears
in “He Thinks He’s Wonderful” and “Basil and
Cleopatra.”

Bibble, Mr. and Mrs. Minnie Bibble’s parents,
who are visiting Bill Kampfs family. These char¬
acters also appear in “He Thinks He’s Wonderful”
and “Basil and Cleopatra.”

Crum, Hector Lewis Crum’s cousin, who attends
Rhoda Sinclair’s dinner party. While Hector is
dancing with Rhoda at the Lake Club, Basil Duke
Lee has a brief opportunity to be alone with Minnie
Bibble.

Crum, Lewis A guest at Rhoda Sinclair’s dinner
party. This character also appears in “The Freshest
Boy” and “He Thinks He’s Wonderful.”

'Four Fists, The" 77

Kampf, William S. (Bill) Boy whose family
Minnie Bibble is visiting. This character, based on
Fitzgerald’s St. Paul friend Paul Ballion, also
appears in “The Scandal Detectives,” “He Thinks
He’s Wonderful,” and “The Captured Shadow.”

Lee, Alice Riley Basil Duke Lee’s mother. (His
father is dead.) She tells Basil she cannot afford to
send him to Yale. This character also appears in “A
Night at the Fair,” “The Freshest Boy,” and “The
Captured Shadow.” Her maiden name is spelled
“Riley” in “A Night at the Fair,” but in “Forging
Ahead” her father and uncle spell it “Reilly.”

Lee, Basil Duke See entry for this character
under The Basil and Josephine Stories.

Parmelee, Eddie He helps Basil Duke Lee get
a job at the railroad. Basil pays him $10 to go to
Rhoda Sinclair’s party in Basil’s place, but Eddie
sends Mr. Utsonomia instead.

Reilly, Benjamin Basil Duke Lee’s great-uncle,
who gives Basil a summer job at the Reilly Whole¬
sale Drug Company and expects Basil to escort his
stepdaughter, Rhoda Sinclair.

Reilly, Everett Basil Duke Lee’s uncle; brother
of Basil’s mother, Alice Riley Lee. He tells Basil’s
mother that he, she, and their father have lost a
lot of money, which means that she can’t afford to
send Basil to Yale. This character also appears in
“A Night at the Fair.”

Reilly, Grandfather Basil Duke Lee’s grand¬
father, who thinks Basil should attend the state
university rather than Yale. This character also
appears in “The Freshest Boy” and “He Thinks
He’s Wonderful.”

Reilly, Mrs. Woman who persuades her husband,
Benjamin Reilly, to give Basil Duke Lee a summer
job so that Basil will be obligated to escort her
unattractive daughter, Rhoda Sinclair.

Sinclair, Rhoda Mrs. Reilly’s unattractive daugh¬
ter, whom Basil Duke Lee is required to escort

because his great-uncle Benjamin Reilly, Rhoda’s
stepfather, gives him a summer job.

Utsonomia, Mr. Japanese student at the state
university. Eddie Parmelee, whom Basil Duke Lee
has paid to take his place at Rhoda Sinclair’s party,
sends Mr. Utsonomia instead.

“For Sheilah,
a Beloved Infidel”

See “To a Beloved Infidel.”

“Four Fists, The”

Fiction. Written May 1919. Scribner’s Magazine
67 (June 1920), 669-680; Flappers and Philosophers.

Samuel Meredith’s character is improved pro¬
gressively when he is punched four times during the
course of two decades. His prep-school roommate,
Gilly Hood, hits him for being spoiled and generally
unpleasant. While in college, he is punched by a
workman at whom he snobbishly sneers for refus¬
ing to give up his horsecar seat to a woman. Sev¬
eral years after college, Meredith becomes involved
with Marjorie, a married woman whose husband
hits him when he finds Meredith with Marjorie.
While in his early thirties, Meredith is sent to the
southwest by his employer, Peter Carhart, to handle
the forcible purchase of 17 adjoining ranches from
their reluctant owners. After McIntyre, the leader
of the ranchers, hits him, Meredith refuses to con¬
clude the underhanded business and is promoted to
be Carhart’s partner.

Fitzgerald told one admirer that this story was
written in financial desperation in order to give
the magazine what it wanted. He told another
correspondent that he disliked “The Four Fists”
more than all but one of his stories because it was
“so preachy + righteous” (Fall 1920; Correspon¬
dence p. 71).

78 "Freeze-Out, A"

CHARACTERS

Carhart, Peter Samuel Meredith’s employer and
eventually his partner.

Hamil Peter Carhart’s employee in the South¬
west who is in charge of a scheme to buy up ranches
in New Mexico.

Hood, Gilly Samuel Meredith’s roommate at
prep school and the first person to hit him. They
eventually become good friends.

Marjorie A young wife with whom Samuel Mer¬
edith becomes involved and whose husband is the
third person to hit Meredith.

McIntyre Leader of the New Mexico ranchers;
the fourth person to hit Samuel Meredith.

Meredith, Samuel Man whose character is
improved by being hit four times.

workman (unnamed) Horsecar passenger who
is the second person to hit Samuel Meredith.

“Freeze-Out, A”

Fiction. Written September 1931. The SATURDAY
Evening Post 204 (December 19, 1931), 6-7, 84-
85, 88-89; The Price Was High.

Pierce and Charlotte Winslow discuss
Chauncey Rikker, who had gone bankrupt, left
town, was later involved in various scandals, and
was imprisoned for contempt of court, but who is
rich again and has returned to town. Pierce Win¬
slow and his son, Forrest Winslow, both decide to
blackball Rikker from the Kennemore Club. For¬
rest changes his mind because he does not want to
punish Rikker’s beautiful daughter, Alida Rikker;
his father backs down because he owes a favor
to Walter Hannan, the Rikkers’ social sponsor.
Despite his family’s prejudice against the Rikkers,
Forrest falls in love with Alida and wants to marry

her. He knows that his parents will disapprove,
but his great-grandmother, Mrs. Hugh Forrest,
tells him to marry her if she has a good character.
Chauncey moves out of his parents’ house and
plans a small private wedding. His mother and sis¬
ter plan to attend, but only at the last minute does
his father decide to go so he will not be laughed
at. Old Mrs. Forrest calls Alida after the wedding
to wish her happiness and is satisfied that she has
fulfilled her duty.

CHARACTERS

Drake, Jane Girl whom Forrest Winslow does
not love but whom he considers marrying before he
falls in love with Alida Rikker.

Forrest, Mrs. Hugh Forrest Winslow’s great¬
grandmother, a sensible and “entirely solid” woman
who does her duty.

Hannan, Helen Girl with whom Alida Rikker
plays golf.

Hannan, Walter Man who sponsors Chauncey
Rikker for membership in the Kennemore Club.

Rikker, Alida Beautiful girl with whom Forrest
Winslow falls in love and whom he marries despite
his parents’ prejudice against her family.

Rikker, Cathy Chase Chauncey Rikker’s wife
and Alida and Teddy Rikker’s mother.

Rikker, Chauncey Man who returns to his Min¬
nesota hometown after business scandals that
prejudice the townspeople against him. Husband of
Cathy Chase Rikker and father of Alida and Teddy
Rikker.

Rikker, Teddy Alida Rikker’s brother, who invites
Forrest Winslow to their dance.

Winslow, Charlotte Forrest Winslow’s mother.

Winslow, Eleanor Forrest Winslow’s sister.

"Freshest Boy, The" 79

Winslow, Forrest Young man who overcomes
his family’s prejudice to marry Alida Rikker.

Winslow, Pierce Forrest Winslow’s father, who
objects to his son’s relationship with Alida Rikker.
Forrest loses faith in his father when Mr. Winslow
backs down from his plan to blackball Chauncey
Rikker because he is under obligation to Rikker’s
social sponsor, Walter Hannan.

“Freshest Boy, The”

Fiction—Basil Duke Lee story. Written April 1928.
The Saturday Evening Post 201 (July 28, 1928),
6-7, 68, 70, 73; Taps at Reveille; The Basil and Jose-
phine Stories.

Basil Duke Lee, age 15, is called Bossy and is
extremely unpopular during his first year at St.
Regis. After attending a play in New York he
overhears an unhappy conversation between foot¬
ball star Ted Fay and an actress named Jerry, and
he realizes that life is difficult even for appar¬
ently successful people. He thus forgoes a trip to
EUROPE, which would have removed him from his
painful school experience, because he is unwilling
to give up his dream of “the conquest of the suc¬
cessive worlds of school, college and New York”
(TAR, p. 50). Back at school, some of his fellow
students are a bit friendlier to him; and he gains
the nickname “Lee-y.”

CHARACTERS AND A PLACE
Bacon, Doctor Headmaster of St. Regis who
wonders why Basil Duke Lee is so unpopular and
sends Mr. Rooney with him when Basil cannot get
any of his fellow students to accompany him to
New York.

Beltzman Man who gave Jerry her part in a play
and whom she has promised to marry.

Brown, Bugs A St. Regis student who refuses to
accompany Basil Duke Lee to New York.

Carver Captain of the football team at St. Regis.
He grabs Basil and rebukes him for shoving to get
into the dining room, which everyone is doing.

Crum, Lewis Boy who is on the train with Basil
Duke Lee on the way to St. Regis, where he will
be a second-year student. Lewis, who hates the
school, attempts to dampen Basil’s enthusiasm
and reminds him of his reputation for freshness
at his previous school. This character also appears
in “He Thinks He’s Wonderful” and “Forging
Ahead.”

Fay, Ted Yale football captain, based on Yale star
Ted Coy, whom Basil Duke Lee sees with an actress
in New York.

Gaspar, William ("Fat") Student at St. Regis
who rudely refuses to accompany Basil Duke Lee to
New York but later is nice to him. This character
also appears in “Basil and Cleopatra.”

Jerry Actress who tells Ted Fay she has promised
to marry Beltzman, the man who gave her the part
in the play.

Lee, Alice Riley Basil Duke Lee’s mother. (His
father is dead.) She is described as “an indulgent
mother” who had given Basil “no habits of work”
(TAR, p. 51). This character also appears in “A
Night at the Fair,” “The Captured Shadow,” and
“Forging Ahead.” Her maiden name is spelled
“Riley” in “A Night at the Fair,” but in “Forging
Ahead” her father and uncle spell it “Reilly.”

Lee, Basil Duke See entry for this character
under The Basil and Josephine Stories.

Maplewood A new student at St. Regis with
whom Basil Duke Lee becomes friends after Christ¬
mas. They quarrel.

Reilly, Grandfather Basil Duke Lee’s grandfa¬
ther. He wants to take Basil and Basil’s mother to
Europe with him for the rest of the year, but Basil

80 "Friend Husband's Latest"

decides not to go. This character also appears in “He
Thinks He’s Wonderful” and “Forging Ahead.”

Rooney, Mr. Football coach and history teacher
at St. Regis who gets drunk when he accompanies
Basil Duke Lee to New York.

St. Regis Fictional prep school in This Side of
Paradise, “The Family Bus,” “Inside the House,”
“The Swimmers,” “The Freshest Boy” and “The
Perfect Life”; based on the Newman SCHOOL. In
“The Family Bus” St. Regis is described as “Amer¬
ica’s most expensive school” ( The Price Was High,
p. 497).

Treadway Basil Duke Lee’s roommate at St.
Regis. He refuses to accompany Basil to New York
and takes his things out of their room to move in
with Brick Wales.

Wales, Brick Basil Duke Lee’s enemy at the
beginning of school. Basil’s roommate, Treadway,
leaves Basil to move in with him. Later in the year,
while playing basketball, Wales calls Basil “Lee-y,”
a nickname that makes Basil happy. This character
also appears in “Basil and Cleopatra.”

“Friend Husband’s Latest”

Review of The Beautiful and Damned by Zelda
FITZGERALD. New York Tribune, April 2, 1922, mag¬
azine section, p. 11; Zelda Fitzgerald: The Collected
Writings.

Zelda Fitzgerald’s first professional publication.
Although the review was partly a joke, she criti¬
cized the intellectual pretentiousness of her hus¬
band’s second novel.

F. Scott Fitzgerald In His
Own Time: A Miscellany

Edited by Matthew J. Bruccoli and Jackson R.
Bryer. Kent, Ohio: Kent State University Press,

1971. Contents: Part 1—Miscellany by Fitzgerald:
“‘Football’”; Fie! Fie! Fi-Fi! —“Opening Chorus,”
“Gentlemen Bandits We,” “A Slave to Modern
Improvements,” “In Her Eyes,” “What the Mani¬
cure Lady Knows,” “Good Night and Good Bye,”
“’Round and ’Round,” “Chatter Trio,” “Finale Act
I,” “Rose of the Night,” “Men,” “In the Dark,”
“Love or Eugenics,” “Reminiscence,” “Fie! Fie! Fi-
Fi!,” “The Monte Carlo Moon,” “Finale Act II”;
“A Cheer for Princeton”; The Evil Eye —“Act I
Opening Chorus,” “I’ve Got My Eyes on You,”
“On Dreams Alone,” “The Evil Eye,” “What I’ll
Forget,” “Over the Waves to Me,” “On Her Euka-
lali,” “Jump Off the Wall,” “Finale Act I,” “Act
II Opening Chorus,” “Harris from Paris,” “Twi¬
light,” ‘“The Never, Never Land,”’ “My Idea of
Love,” “Other Eyes,” “The Girl of the Golden
West,” “With Me”; Safety First —“(A) Prologue,”
“(B) Garden of Arden,” “Act I Opening Chorus,”
“Send Him to Tom,” “One-Lump Percy,” “Where
Did Bridget Kelly Get Her Persian Tempera¬
ment?” “It Is Art,” “Safety First,” “Charlotte Cor-
day,” “Underneath the April Rain,” “Dance, Lady,
Dance,” “(A) Safety First,” “(B) Hello Tempta¬
tion,” “When That Beautiful Chord Came True,”
“Rag-Time Melodrama,” “Scene II,” “Take Those
Hawaiian Songs Away,” “The Vampires Won’t
Vampire for Me,” “The Hummin’ Blues,” “Down
in Front,” “Finale”; “To My Unused Greek Book”;
“Rain Before Dawn”; “Princeton—The Last Day”;
“On a Play Twice Seen”; “The Cameo Frame”;
“City Dusk”; “My First Love”; “Marching Streets”;
“The Pope at Confession”; “A Dirge”; “Sleep of a
University”; “To Anne”; untitled poem; “Lamp in
a Window”; “Obit on Parnassus”; “There was once
a second group student . . .”; “May Small Talk”;
“How They Head the Chapters”; “The Conquest
of America”; “Yais”; “Little Minnie McCloskey”;
“One from Penn’s Neck”; “A Litany of Slang”;
“‘Triangle Scenery by Bakst’”; “Futuristic Impres¬
sions of the Editorial Boards”; “‘A glass of beer kills
him’”; “Oui, le backfield est from Paris”; “‘When
you find a man doing a little more’”; “Things That
Never Change. Number 3333”; “The Old Fron¬
tiersman”; “Boy Kills Self Rather Than Pet”; “Pre¬
caution Primarily”; “Things That Never Change
No. 3982”; “McCaulay Mission—Water Street”;

F. Scott Fitzgerald Manuscripts 81

“Popular Parodies—No. 1”; “The Diary of a
Sophomore”; “Undulations of an Undergraduate”;
“Yale’s swimming team will take its maiden plunge
to-night”; “Kenilworth Socialism”; “True Democ¬
racy”; “A Few Well-Known Club Types And Their
Futures”; “The Prince of Pests”; “‘These rifles***
will probably not be used . . ‘“It is assumed that
the absence of submarines . . “Ethel had her
shot of brandy . . “The Staying Up All Night”;
“Intercollegiate Petting Cues”; “Our American
Poets”; “Cedric the Stoker”; “Our Next Issue”;
“The Usual Thing”; “Jemina”; review of Penrod
and Sam; review of David Blaize; review of The
Celt and the World; review of Verses in Peace and
War; review of God, the Invisible King; review of
Prejudices. Second Series; review of Three Soldiers;
“Three Cities”; review of Brass; review of Crome
Yellow; review of Gentle Julia; review of M argey
Wins the Game; review of The Oppidan; review of
The Love Legend; review of Many Marriages; review
of Being Respectable; review of Through the Wheat;
“How to Waste Material”; “F. Scott Fitzgerald Is
Bored by Efforts at Realism in ‘lit’”; blurb for Babel;
blurb for LilyHron; introduction to GG; blurb for
Cast Down the Laurel; foreword to Colonial and
Historic Homes of Maryland; blurb for What Makes
Sammy Run?; blurb for The Day of the Locust; self¬
interview; “The Author’s Apology”; “The Credo
of F. Scott Fitzgerald”; “What I Was Advised To
Do—And Didn’t”; “How I Would Sell My Book If
I Were a Bookseller”; “Confessions”; “In Literary
New York”; “Censorship or Not”; “Fitzgerald Sets
Things Right about His College”; “Unfortunate
‘tradition’”; “False and Extremely Unwise Tradi¬
tion”; “Confused Romanticism”; “An Open Letter
to Fritz Crisler”; comments on stories; statement
on Huck Finn; “Anonymous T7”; letter to Har¬
vey H. Smith; “‘Why Blame It on the Poor Kiss if
the Girl Veteran of Many Petting Parties Is Prone
to Affairs after Marriage?”’; “Does a Moment of
Revolt Come Sometime to Every Married Man?”;
“What Kind of Husbands Do ‘Jimmies’ Make?”
“‘Wait Till You Have Children of Your Own!”’;
“What Became of Our Flappers and Sheiks?”;
“Girls Believe in Girls”; “What I Think and Feel
at 25”; “A Short Autobiography”; “This is a Mag¬
azine”; “Reminiscences of Donald Stewart”; The

St. Paul Daily Dirge; “The Most Disgraceful Thing
I Ever Did”; “Salesmanship in the Champs-Ely-
sees”; The True Story of Appomattox; “A Book of
One’s Own”; testimonial for Constant Tras. Also
includes material about Fitzgerald: interviews,
reviews, essays, editorials, parodies, and obituaries.

F. Scott Fitzgerald: Inscriptions

Edited with introduction by Matthew J. Bruc-
COLI. Columbia, S.C.: 1988 (limited edition of 200
numbered copies).

Facsimiles of inscriptions by Fitzgerald in his
own books, as well as other authors’ books which
he gave to friends; also inscriptions to Fitzgerald
from James Branch Cabell, JOHN Dos PASSOS, T.
S. Eliot, James Joyce, H. L. Mencken, Gertrude
Stein, and others. All but two of the items facsimi¬
led in this volume are in the BRUCCOLI COLLECTION
at the University of South Carolina.

“F. Scott Fitzgerald Is Bored
by Efforts at Realism in ‘Lit’ ”

Review of March issue of The NASSAU LITERARY
MAGAZINE. The Daily Princetonian March 16, 1928,
pp. 1, 3; In His Own Time,

Fitzgerald notes that the stories in this issue
of the Lit are “desperately similar to each other”
because “they all take place on Nassau Street, no
longer back than yesterday” (In His Own Time, p.
150). He finds the poetry better than the fiction,
but concludes that “this is a dignified but on the
whole unadventurous number of the oldest college
magazine in America” (p. 151).

F. Scott Fitzgerald Manuscripts

New York & London: Garland, 1990-91. Facsimi¬
les of the novels, short stories, and essays in 18

82 F. Scott Fitzgerald Manuscripts

volumes. All the volumes are edited with intro¬
ductions by general editor Matthew J. Bruc-
COLI, except for The Beautiful and Damned, which
is edited with an introduction by associate editor
Alan Margolies.

CONTENTS

I. This Side of Paradise

Part 1: holograph draft of TSOP, Book One. Part
2: holograph draff of TSOP, Book Two; revised
typescript and carbon copy of Chapters I, II, V, XII,
XIV of “The Romantic Egotist”; carbon copy of
Chapters I and II of TSOP.

II. The Beautiful and Damned

Part 1: holograph manuscript with revised typed
inserts for Book One, Chapters I—III and Book
Two, Chapter I. Part 2: holograph manuscript with
revised typed inserts for Book Two, Chapters II—III
and Book Three, Chapters I—III; carbon copies of
galley inserts.

III. The Great Gatsby

Revised and rewritten galleys with revised typed
inserts. [Note: The Great Gatsby: A Facsimile of the
Manuscript, ed. Bruccoli, was previously published
(Washington: Bruccoli Clark/NCR Microcard
Books, 1973).]

IV Tender Is the Night

a. The Melarky and Kelly Versions. Part 1: holo¬
graph for Francis Melarky version (first draft);
revised typescript (second draft) for Melarky ver¬
sion. Part 2: holograph for Melarky narrator ver¬
sion (third draft); revised typescript for Melarky
narrator version (fourth draft); holograph draft for
two chapters of Lew Kelly version.

b. The Diver Version. Part 1: selected notes,
holograph draft. Part 2: holograph draft (contin¬
ued). Part 3: first revised typescript. Part 4: sec¬
ond revised typescript. Part 5: setting copy for
the serial; revised serial galleys and revised typed
inserts; revised book galleys.

V The Last Tycoon

Part 1: holograph and revised typescript for Fitzger¬
ald’s preliminary and working notes; holograph

draft for Episodes 1-17. Part 2: holograph draft for
Episodes 1-17 (continued); revised typescripts and
revised carbon copies. Part 3: revised typescripts
and revised carbon copies (continued); latest
revised typescripts.

VI. The Vegetable, Stories, and Articles
Part 1: revised typescript for scenes deleted from
The Vegetable before publication; holograph revi¬
sions for production of The Vegetable; incomplete
holograph for “Babes in the Woods”; holograph
for “Rags Martin-Jones and the Pr-nce of W-
les”; revised typescript for “A Penny Spent” and
“The Rich Boy”; holograph for “How To Waste
Material: A Note on My Generation”; revised
typescript for “The Love Boat,” “A Night at the
Fair,” “He Thinks He’s Wonderful,” “The Cap¬
tured Shadow,” “The Perfect Life,” and “The
Last of the Belles.” Part 2: revised typescript for
“Forging Ahead”; holograph plan (previously
unpublished) for Basil Duke Lee stories; revised
typescript for “The Swimmers”; revised typescript
(and possibly carbon copy) for “Two Wrongs”;
revised typescript for “A Nice Quiet Place,”
“The Bridal Party,” and “A Woman with a Past”;
revised typescript (and possibly carbon copy) for
“One Trip Abroad”; revised typescript for “The
Hotel Child,” “Babylon Revisited,” and “Indeci¬
sion.” Part 3: revised typescript for “A New Leaf’
and “Emotional Bankruptcy”; holograph notes
(previously unpublished) for a projected volume
of augmented Josephine Perry stories; revised
typescript for “Six of One—,” “Diagnosis,” and
“Crazy Sunday”; holograph and revised typescript
for “In the Darkest Hour”; holograph for “The
Count of Darkness”; holograph and revised typed
notes for Philippe medieval stories; revised type¬
script for “The Crack-Up,” “Early Success,” and
“The Woman from Twenty-One”; holograph for
“Reunion at the Fair” (incomplete and previously
unpublished Pat Hobby story); holograph and
revised typed notes (previously unpublished) on
Pat Hobby stories.

Fitzgerald’s manuscripts and revisions on type¬
scripts and galleys demonstrate his painstaking
process of rewriting and revising through mul¬
tiple drafts and provide evidence of his careful

F. Scott Fitzgerald's Ledger: A Facsimile 83

craftsmanship (See editing Fitzgerald’s texts).
These facsimiles therefore provide an invaluable
resource for the serious Fitzgerald scholar. Most
of the material in this facsimile edition is in the F.
Scott Fitzgerald Papers at PRINCETON UNIVERSITY
Library.

F. Scott Fitzgerald
on Authorship

Edited with introduction by MATTHEW J. BRUC-
COLI, with Judith S. Baughman. Columbia: Uni¬
versity of South Carolina Press, 1996. One of
the volumes published by USC Press to mark
the CENTENNIAL of Fitzgerald’s birth. Contents:
Untitled review of David Blaize by E. F. Ben¬
son; untitled review of The Celt and the World by
SHANE Leslie; untitled review of Verses in Peace
and War by Shane Leslie; untitled review of God,
The Invisible King by H. G. Wells; “An Interview
with F. Scott Fitzgerald”; “Contemporary Writers
and Their Work, a Series of Autobiographical
Letters—F. Scott Fitzgerald”; “Who’s Who—and
Why”; Public Letter to Thomas Boyd; “The Bal¬
timore Anti-Christ,” review of Prejudices, Second
Series by H. L. MENCKEN; “Three Soldiers,” review
of the novel by JOHN Dos PASSOS; “Three Cities”;
“Poor Old Marriage,” review of Brass by Charles
G. Norris; “Reminiscences of Donald Stewart”;
dust-jacket statement for John Coumos’s Babel;
“Aldous Huxley’s Crome Yellow”; “Literary
Libels—Francis Scott Key Fitzgerald” by THOMAS
A. Boyd; “What I Was Advised To Do—And
Didn’t”; “Tarkington’s Gentle Julia”; “Homage to
the Victorians,” review of The Oppidan by Shane
Leslie; “A Rugged Novel,” review of The Love
Legend by WOODWARD BOYD; “How I Would Sell
My Book If I Were a Bookseller”; “The Defeat
of Art,” review of The Boy Grew Older by Hey-
wood Broun; “Minnesota’s Capital in the Role
of Main Street,” review of Being Respectable by
Grace Flandrau; “Sherwood Anderson on the
Marriage Question,” review of Many Marriages by
Anderson; “10 Best Books I Have Read”; “Con¬

fessions,” public letter to Fannie Butcher; “Under
Fire,” review of Through the Wheat by Thomas
Boyd; “Censorship or Not”; “Prediction Is Made
about James Joyce Novel: F. S. Fitzgerald Believes
Ulysses Is Great Book of Future”; “In Literary
New York”; “How To Waste Material—A Note
on My Generation,” essay-review of In Our Time
by Ernest Hemingway; “Fitzgerald, Spenglerian”
by Harry Salpeter; “F. Scott Fitzgerald Is Bored
by Efforts at Realism in ‘Lit,’” review of March
1928 issue of The Nassau Literary Magazine,-
“Fitzgerald Back from Riviera; Is Working on
Novel”; Statement on Huckleberry Finn; “One
Hundred False Starts”; “Ring”; Introduction to
the Modern Library reprint of The Great Gatsby;
“My Ten Favorite Plays”; “Fitzgerald’s Letter of
Recommendation for Nathanael West’s Gug¬
genheim Fellowship Application”; “Author’s
House”; “Afternoon of an Author”; “Early Suc¬
cess”; “Financing Finnegan”; dust-jacket state¬
ment for Budd Schulberg’s What Makes Sammy
Run?; excerpts from Notebooks; and excerpts from
letters.

F. Scott Fitzgerald's Ledger:

A Facsimile

Introduction by MATTHEW J. BRUCCOLI. Wash¬
ington, D.C.: Bruccoli Clark/NCR Microcard Edi¬
tions, 1973. A 9 Vz"X 14 Vi" business ledger in
which Fitzgerald kept a record of his professional
and personal activities in five categories: “Record
of Published Fiction—Novels, Plays, Stories”;
“Money Earned by Writing since Leaving Army”;
“Published Miscelani (including movies) for which
I was Paid”; “Zelda’s Earnings”; “Outline Chart of
my Life” (a monthly chronology beginning with his
birth, with a yearly summary beginning with Sep¬
tember 1910-August 1911). He probably began
to keep the Ledger in late 1919 or early 1920, but
he may have begun it in 1922 when he wrote to
Harold Ober that he was “getting up a record of
all my work” (As Ever, p. 46); he continued the
record through 1936.

84 F. Scott Fitzgerald's Preface to This Side of Paradise

F. Scott Fitzgerald's Preface to
This Side of Paradise

Edited by John R. Hopkins. Iowa City, Iowa: Wind¬
hover Press/Bruccoli Clark, 1975 (limited edition
of 150 copies); typescript previously facsimiled in
Fitzgerald/Hemingway Annual (1971), pp. 1-2.

Preface that Fitzgerald wrote in August 1919,
before Maxwell Perkins of Scribners accepted
TSOP for publication. The preface, which was
never published with the novel, describes the com¬
position of the novel and Fitzgerald’s unsuccessful
early attempts at finding a publisher for it.

F. Scott Fitzgerald’s St. Paul
Plays, 1911-1914

Edited by Alan Margolies. Princeton, N.J.: Princ¬
eton University Library, 1978. Contents: The Girl
from Lazy J, The Captured Shadow, Coward, and
Assorted Spirits.

Collection of four plays that Fitzgerald wrote for
the El iz abethan Dramatic Club in St. Paul.

“Full Life, A”

Fiction. Written c. 1936-37. The Princeton Univer¬
sity Library Chronicle 49 (Winter 1988), 158-172.

Gwendolyn Davies is treated in the emergency
room by Dr. Harvey Wilkinson when she jumps
from a 53rd-story window in an inflatable rubber
suit and is injured; she leaves the hospital abruptly
and denies her name. Dr. Wilkinson recognizes
her as the girl he had read about and who had van¬
ished from her hometown of Delphis, New York.
Five years later he reads a newspaper report of a
Comptesse de Frejus, the former Mrs. Cornelius B.
Hasbrouk, jumping from an ocean liner and rec¬
ognizes her as the same woman. Nine years later
he attends her performance as “the human shell”
when she is shot out of a cannon. While he is

questioning her about her past, she explodes and
he is killed.

Fitzgerald’s working title for this story was “The
Vanished Girl.”

CHARACTERS

Davies, Gwendolyn (Mrs. Cornelius B. Has¬
brouk; the Comptesse de Frejus) Woman
whose adventures are followed by Dr. Harvey
Wilkinson, who once treated her in the emergency
room.

Wilkinson, Dr. Harvey Doctor who enlivens
his boring life by following, through intermittent
newspaper headlines, the career of a mysterious
girl named Gwendolyn Davies whom he had once
treated in the emergency room.

“Fun in an Artist’s Studio”

Fiction—Pat Hobby story. Submitted June 25,
1940. Esquire 15 (February 1941), 64, 112; The
Pat Hobby Stories.

Studio executive Mr. De Tine persuades Pat
Hobby to pose for Princess Dignanni, a painter.
Pat keeps asking her whether she wants him to
pose naked and whether she has ever painted a
naked man. When he continues to make sexual
suggestions, she calls in a police officer and says
Pat had agreed to pose nude and is now refusing.
When Pat has undressed and has only a Turk¬
ish towel, his face again wears the expression that
had originally intrigued her and made her want to
paint him.

CHARACTERS

DeTinc, Mr. Powerful studio executive who
lends Pat Hobby to Princess Dignanni for an after¬
noon so she can paint his portrait.

Dignanni, Princess Portrait painter who asks
Pat Hobby to pose for her.

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

"Girl with Talent, The" 85

Girl from Lazy J , The

Play. In F. Scott Fitzgerald’s St. Paul Plays, 1911—1914-
Performed in August 1911 at the home of Eliz¬
abeth MAGOFFIN during the organizational meet¬
ing of the E l.I7- ARF.THAN DRAMATIC CLUB in ST.
PAUL. Fitzgerald played the leading role of Jack
Darcy, who is visiting his uncle, George Kendall,
at Diamond O Ranch in Texas. Kendall has inex¬
plicably received a note from a prospective thief
warning him that on the night of August 12, his
$5,000 from a recent sale of steers will be stolen;
he asks Jack to wait up that night for a while
and be on the lookout. When Jack falls asleep in
his chair, Tony Gonzoles, a Mexican cowpuncher
whom Kendall plans to fire, enters and ties Jack
up. Leticia Lamed, Jack’s fiancee from the neigh¬
boring Lazy J Ranch, enters masked and aims a
gun at Tony, demanding that he hand over the
letters he stole from her mother five years ago that
he has been using to blackmail her. She burns the
letters and ties up Tony. The Kendalls enter and
untie Tony and Jack. Jack prevents Tony from
escaping and is amazed to find that the masked
girl is Leticia.

CHARACTERS

Darcy, Jack George Kendall’s nephew from San
Francisco. He is concerned that his mother may
not approve of his engagement to Leticia Lamed.

Gonzoles, Tony A “Mexican cowpuncher” whom
George Kendall plans to discharge. Under the alias
of “D.S.H.” (Dead Shot Hoskins), he attempts to
rob Kendall but is apprehended by neighboring
cowgirl Leticia Lamed, whose mother he has been
blackmailing.

Kendall, George Jack Darcy’s uncle; owner
of the Diamond O Ranch. He has received a
note warning him of an intended robbery at his
ranch.

Kendall, Mrs. George Jack Darcy’s aunt, who is
surprised yet pleased to learn of Jack’s engagement
to Leticia Lamed.

Larned, Leticia Cowgirl from the Lazy J ranch
who is engaged to Jack Darcy and who apprehends
Tony Gonzoles, who is trying to rob Jack’s uncle,
George Kendall.

“Girls Believe in Girls”

Essay. Liberty 7 (February 8, 1930), 22-24; In His
Own Time.

Fitzgerald analyzes the “modern and somewhat
disturbing cult of the heroine” which has devel¬
oped as “women have come to believe that they
have nothing of value to learn from men” (In His
Own Time, pp. 207-208). He adds that virtue is no
longer identified with chastity and classifies Ameri¬
cans according to “two frames of mind: the first
engaged in doing what it would like to do; the
second pretending that such things do not exist”

(p. 210).

“Girl the Prince Liked, The”

Fiction by Zelda Fitzgerald. College Humor
no. 74 (February 1930), 46-48); Bits of Paradise;
Zelda Fitzgerald: The Collected Writings. Bylined “F.
Scott and Zelda Fitzgerald” but credited to Zelda
in Ledger.

Wealthy, ambitious Helena, whose husband
does not complain about her flirtations with other
men, grows bored with her life in the Middle West
and travels with her family to Florida and then
Chicago, where she attracts the Prince of Wales.
They meet again in Paris, and she later visits
him at his palace, where he gives her a jeweled
bracelet.

“Girl with Talent, The”

Fiction by Zf. i.da Fitzgerald. College Humor no.
76 (April 1930), 50-52, 125-127; Bits of Paradise;

86 "Gods of Darkness"

Zelda Fitzgerald: The Collected Writings. Bylined “F.
Scott and Zelda Fitzgerald” but credited to Zelda in
Ledger.

After her show closes in New York, Lou, a
dancer, leaves her husband and child behind to
perform at a Paris nightclub with enormous suc¬
cess. She disappears with a man for five days, then
reappears and gets a divorce. She later runs off to
China with an Englishman.

“Gods of Darkness”

Fiction—fourth Philippe story. Redbook 78 (Novem¬
ber 1941), 30-33, 88-91. Published posthumously.

The Abbot warns Philippe that his followers are
involved in a pagan cult and asks for Philippe’s
help in stamping it out. When the Duke of Maine
approaches Philippe’s property with a large troop of
horsemen, Griselda, whom Philippe plans to marry,
urges him to let Jacques handle the situation. By
following Jacques’s instructions, Philippe captures
the duke and his entourage. Griselda and Jacques
take Philippe to a meeting of the Witch Cult,
attended by followers of both Philippe and the
Duke of Maine. When the chief witch, Becquette
Le Poire, denounces Philippe, Griselda reveals that
she is really the chief priestess of the Witches of
Touraine. Philippe resolves to use the cult to help
his own cause.

CHARACTERS

Duke of Maine Powerful man who owns prop¬
erty a hundred miles from Philippe’s land and whose
attempt at invading Philippe’s territory is foiled by
the bond that his men share with Philippe’s men as
members of a witch cult.

Garovochi, Signor Leader of a group of Italian
merchants whom Philippe charges 10 percent of
their wares to ford the River Loire.

Griselda Woman whom Philippe agrees to
marry. She persuades him to let Jacques handle the
approaching Duke of Maine and reveals that she
is the chief priestess of the Witches of Touraine.

This character also appears in “The Kingdom in
the Dark.”

Jaques (Jacques) Jaques appeals to the common
bond he shares with the followers of the Duke of
Maine who belong to the same witch cult to keep
them from helping the duke attack Philippe. This
character also appears in “In the Darkest Hour,”
“The Count of Darkness,” and “The Kingdom in
the Dark.”

Le Poire, Becquette Chief witch who denounces
Philippe for killing her father, Le Poire, although he
was actually killed by the invading Northmen.

Philippe See entry for this character under “The
Castle.”

Pierre Son of Jaques, who sends him to tell the
followers of the Duke of Maine that the duke is
Philippe’s prisoner.

Great Gatsby, The

Novel. New York: Charles Scribner’s Sons, 1925;
London: Chatto & Windus, 1926. Dedication:
“ONCE AGAIN TO ZELDA.”

COMPOSITION

Fitzgerald began to plan his third novel in June
1922 in DELLWOOD, Minnesota, reporting to his
editor MAXWELL PERKINS: “Its locale will be the
middle west and New York of 1885 I think. It will
concern less superlative beauties than I run to usu¬
ally + will be centered on a smaller period of time.
It will have a catholic element” ( Life in Letters,
p. 60; Scott/Max, p. 61). No manuscript for the
material that he described survives. In July 1922,
he informed Perkins: “I want to write something
new —something extraordinary and beautiful and
simple + intricately patterned” ( Correspondence,

p. 112).

Fitzgerald began to write an early version of the
novel in Great Neck, Long Island, in June 1923.

Great Gatsby, The 87

All that survives of this version are two pages that
Fitzgerald sent to Willa Cather (1873-1947) in
1925, explaining that he had written a descrip¬
tion of Daisy Buchanan before reading Cather’s
similar description of Marian Forrester in A Lost
Lady (1923). The time and setting of Fitzgerald’s
novel is not specified in the pages; the characters
are Jordan Vance (who anticipates Jordan Baker),
Ada (who anticipates Daisy), and Caraway, who
is not the narrator. (See MATTHEW J. BRUCCOLI,
‘“An Instance of Apparent Plagiarism’: F. Scott
Fitzgerald, Willa Cather, and the First Gatsby Man¬
uscript,” The Princeton University Library Chronicle,
39 [Spring 1978], 171-178.) Fitzgerald’s work on
the novel was interrupted by the September pro¬
duction of The Vegetable and the financial neces¬
sity of writing short stories after the play’s failure.
Several stories written during 1922-24 are closely
related to the developing novel: “The Diamond
as Big as the Ritz” (June 1922), “Winter Dreams”
(December 1922), “Dice, Brass Knuckles & Gui¬
tar” (May 1923), “Absolution” (June 1924), and
“The Sensible Thing” (July 1924).

About April 10, 1924, Fitzgerald notified Per¬
kins that he was approaching his material from a
“new angle”—by which he probably meant a new
plot—and repeated his emphasis on technique:
“This book will be a consciously artistic achievment
+ must depend on that as the 1st books did not”
(Life in Letters, p. 67; Scott/Max, p. 70). He com¬
pleted the first draft of the novel and revised the
typescript while in France in the summer and fall
of 1924, and in January-February 1925 he heavily
revised and rewrote the galleys in Rome. Chapters
VI, VII, and VIII were the most heavily rewritten:
Fitzgerald moved portions of Jay Gatsby’s biography
to Chapter VI from Chapters VII and VIII, and he
rewrote the Plaza Hotel confrontation between
Gatsby and Tom Buchanan in Chapter VII. In
December 1924 both Ray Long of COSMOPOLITAN
and John Wheeler of Liberty declined serial rights
to the novel (As Ever, p. 70). In January 1925 H. N.
Swanson of College Humor offered $10,000 for
the serial, but Fitzgerald declined to delay book pub¬
lication for less than $20,000, and he was concerned
that appearance in College Humor “would kill it in

book form” (received January 26, 1925; As Ever, p.
74). GG was not serialized before publication.

SOURCES

At least 14 years after the composition of GG,
Fitzgerald made notes on its sources on the endpaper
ofMan’s Hope (1938) by Andre Malraux (1901-76).
They include his acquaintances and experiences in
New York City and Great Neck and his memory
of GlNEVRA King’s wedding; only three chapters
are described as “an invention” or “inv.” Another
source was his relationship with Zelda FITZGER¬
ALD —their courtship and his loss of certainty in her
fidelity caused by her interest in EDOUARD Jozan.
(Specific sources for characters are discussed in the
entries for Jay Gatsby, Jordan Baker, and Meyer
Wolfshiem. See also Joseph Corso, “One Not-For-
gotten Summer Night: Sources for Fictional Sym¬
bols of American Character in The Great Gatsby,”
Eitzgerald/Hemingway Annual[ 1976], pp. 8-33.)

TITLE

Fitzgerald considered several titles for his third
novel, including “Among the Ash Heaps and Mil¬
lionaires,” “Gold-hatted Gatsby,” “On the Road to
West Egg,” “The High-bouncing Lover,” “Gatsby,”
“Trimalchio,” and “Trimalchio in West Egg.” Tri-
malchio was an ostentatious party-giver in The
Satyricon (first century A.D.), a Latin work by Petro-
nius Arbiter (d. A.D. 65) that Fitzgerald may have
read in 1922 when a translation published by his
friend T. R. Smith of Boni &. Liveright was charged
with obscenity. As late as the first galleys, the nov¬
el’s tide was “Trimalchio,” but Fitzgerald was dis¬
suaded by objections that book buyers would not
understand the title or be able to pronounce it. He
settled on The Great Gatsby in December 1924, but
in January and March 1925 he continued to express
his concern to Perkins about the title, cabling from
Capri on March 19: “CRAZY ABOUT TITLE
UNDER THE RED WHITE AND BLUE STOP
WHART WOULD DELAY BE” (Correspondence,
p. 153). Perkins replied that changing the title
would delay publication by several weeks and urged
that the title remain The Great Gatsby. Fitzgerald
conceded in a March 22 cable.

88 Great Gatsby, The

PUBLICATION AND RECEPTION

The Great Gatsby was published on April 10,
1925, at $2.00, with a dust jacket by FRANCIS
CuGAT; and it received excellent reviews. Gil¬
bert Seldes announced: “Fitzgerald has more
than matured; he has mastered his talents and
gone soaring in a beautiful flight, leaving behind
him everything dubious and tricky in his earlier
work, and leaving even farther behind all the
men of his own generation and most of his elders”
(“Spring Flight,” The Dial, 79 [August 1925],
162-164; F. Scott Fitzgerald: The Critical Recep¬
tion, p. 239). (See also CRITICAL REPUTATION AND
RECEPTION OF NOVELS.)

Sales, however, were disappointing. After a
first printing of 20,870 copies, there was a second
printing of 3,000 copies in August. Some copies
from the second printing were still in the Scrib¬
ners warehouse when Fitzgerald died. In an April
24, 1925, letter to Perkins, Fitzgerald offered two
explanations for the novel’s poor sales: “1st The
title is only fair, rather bad than good. 2nd And
most important —the book contains no important
woman character and women controll the fiction
market at present. I don’t think the unhappy end
matters particularly” (Life in Letters, p. 107; Scott/
Max, p. 101).

DUST JACKET

Francis Cugat’s dust jacket for The Great Gatsby
features a woman’s face over a night scene at
an amusement park. There has been much
speculation about Fitzgerald’s comment to Per¬
kins: “For Christs sake don’t give anyone that
jacket you’re saving for me. I’ve written it into
the book” (c. August 25, 1924; Life in Letters, p.
79; Scott/Max, p. 76). Some commentators have
speculated that this refers to the eyes of Dr. T.
J. Eckleburg, but the final jacket art does not
depict a billboard. Preliminary artwork for the
jacket depicts women’s faces above cityscapes.
These faces and the woman’s face in the final
jacket may have a connection with Nick’s com¬
ment, “Unlike Gatsby and Tom Buchanan, I had
no girl whose disembodied face floated along the
dark cornices and blinding signs” (p. 63). Other

possible connections between the preliminary art
and the novel are discussed in Appendix 3, “Note
on the Dust Jacket,” in GG, edited by Matthew
J. BRUCCOLI (Cambridge: Cambridge University
Press, 1991), pp. 209-210. See also D. Mesher,
“Covering a Debt: F. Scott Fitzgerald and Fran¬
cis Cugat,” Modern Fiction Studies, 37 (Summer

1991) , 235-239, and Charles Scribner III, “Celes¬
tial Eyes: From Metamorphosis to Masterpiece,”
Princeton University Library Chronicle, 53 (Winter

1992) , 140-155, which discusses and reproduces
Cugat’s preliminary artwork for the jacket. The
final painting is at the PRINCETON UNIVERSITY
LIBRARY; the preliminary artwork is in the Arlyn
Bruccoli Collection.

Francis Cugat's dust jacket for Fitzgerald's 1925 novel.
(Bruccoli Collection of F. Scott Fitzgerald, University of
South Carolina)

Great Gatsby, The 89

MODERN LIBRARY INTRODUCTION

When the Modem Library reissued GG in 1934,
Fitzgerald wrote an introduction, in which he
asserted:

Now that this book is being reissued, the author
would like to say that never before did one try to
keep his artistic conscience as pure as during the
ten months put into doing it. Reading it over one
can see how it could have been improved—yet
without feeling guilty of any discrepancy from
the truth, as far as I saw it; truth or rather the
equivalent of the truth, the attempt at honesty of
imagination. I had just reread Conrad’s preface
to The Nigger, and I had recently been kidded
half haywire by critics who felt that my material
was such as to preclude all dealing with mature
persons in a mature world. But, my God! it was
my material, and it was all I had to deal with. (In
His Own Time, p. 156)

Fifteen years after the original publication of
GG, Fitzgerald tried to give his masterpiece another
opportunity, writing to Perkins: “Would the 25
cent press keep Gatsby in the public eye—or is the
book unpopular” (May 20, 1940; Life in Letters, p.
445; Scott/Max, p. 261). After Fitzgerald’s death,
the inclusion of GG with the first publication of
The Last Tycoon and other editions in the 1940s
sparked a renewal of reader interest in GG.

EDITIONS

The current 2004 Scribner trade paperback edition
prints a flawed text. It appears to be based on the
1925 first printing, but it incorporates 39 substan¬
tive emendations from the Cambridge edition. The
Scribner edition introduces 57 substantive errors,
including omitting six structural space breaks, omit¬
ting 29 words, and substituting 13 wrong words for
the words in the 1925 text. See Matthew J. Bruc-
coli, Getting It Wrong: Resetting The Great Gatsby
(Columbia, S.C.: privately printed, 2005).

SYNOPSIS

Chapter I

In June 1922 Nick Carraway visits Tom and Daisy
Buchanan and meets Jordan Baker, who mentions

Jay Gatsby. When Nick returns home, he catches a
glimpse of Gatsby, who lives next door.

Chapter II

Nick and Tom stop in the Valley of Ashes at George
Wilson’s garage, where Nick meets Myrtle Wilson,
Tom’s mistress. She accompanies them to New York,
where she and Tom host an alcoholic party in an
apartment he has rented. At the party Myrtle’s sister
Catherine mentions a rumor about Gatsby to Nick.

Chapter III

Nick attends a party at Gatsby’s mansion, where he
hears more speculation about his mysterious host
and finally meets him. At the party Nick renews
his acquaintance with Jordan, who is summoned
by Gatsby for a private conversation. Later Nick
reflects on “the racy, adventurous feel” (p. 46) of
New York at night and on his relationship with
Jordan.

Chapter IV

Nick enumerates the guests who attend Gatsby’s
parties. He rides to New York with Gatsby, who
relates a bit of his personal history; they have lunch
with Meyer Wolfshiem, who fixed the 1919 World’s
Series, and briefly encounter Tom Buchanan.
Gatsby has asked Jordan to tell Nick the history
of his relationship with Daisy Fay Buchanan. She
explains how Gatsby and Daisy fell in love in 1917
when he was a young army officer stationed in
Louisville, Kentucky. Gatsby was ordered abroad,
and almost two years later Daisy married Tom
Buchanan. Gatsby bought his mansion in West Egg
to be near Daisy, and he throws his lavish parties in
hopes that Daisy will attend one of them. Since she
has not shown up, he wants Nick to invite her to his
house and let Gatsby come over while she is there.
Chapter V

Nick invites Daisy to tea, where she is reunited with
Gatsby. They all go to Gatsby’s mansion, where he
displays his wealth for Daisy and tosses his shirts
into a heap for her and Nick to admire.

Chapter VI

Nick recounts Gatsby’s early history as James Gatz
(his real name), who was drifting along Lake Supe¬
rior when he met Dan Cody, a wealthy miner who

90 Great Gatsby, The

employed Gatsby on his yacht. Mr. Sloane brings
Tom Buchanan to Gatsby’s house for a drink, and
Gatsby mentions that he knows Tom’s wife. Tom
and Daisy attend Gatsby’s next party, and Tom
speculates that Gatsby is a bootlegger. After the
party Gatsby shares with Nick his determination
to repeat the past by Daisy’s telling Tom she never
loved him and marrying Gatsby at her home in
Louisville as if it were five years before.

Chapter VII

Gatsby, Nick, and Jordan have lunch at the
Buchanans’ house; Daisy’s indiscreet voice alerts
Tom to her relationship with Gatsby. They all go
to New York—Gatsby and Daisy in Tom’s car, and
the others in Gatsby’s car. Tom stops at Wilson’s
garage for gas and discovers both Wilson’s suspi¬
cions of Myrtle and his plans to leave town with
her. At the Plaza Hotel Tom confronts Gatsby, who
tells him that Daisy has never loved him but loves
Gatsby. Daisy, who had hoped to avoid a confron¬
tation, admits that she loved Tom once but loved
Gatsby too—a declaration that falls short of Gats¬
by’s expectations. Tom undermines Daisy’s resolve
to leave him by revealing what he has discovered
about Gatsby’s illegal sale of alcohol. On the way
home, Daisy, driving Gatsby’s car, kills Myrtle Wil¬
son in a hit-and-run accident. Tom assumes that
Gatsby was driving, but Nick guesses the truth.
Gatsby keeps a vigil outside the Buchanan house
in case Tom bothers Daisy about the afternoon’s
confrontation, but Nick, who looks through the
window, sees Daisy and Tom conversing in an inti¬
mate, conspiratorial way.

Chapter VIII

Nick goes to Gatsby’s house at dawn. Gatsby tells
him about his courtship of Daisy—how after the
war he was mistakenly sent to Oxford, where he
received word of Daisy’s engagement to Tom; of
his return visit to Louisville, now haunted by his
memories of Daisy. Nick goes to work, where he
quarrels on the phone with Jordan. Nick recounts
what had happened at Wilson’s garage the previous
night after the accident—that Wilson had told his
neighbor Michaelis that he had a way of finding
out who had killed Myrtle. The afternoon after the

accident, Wilson murders Gatsby in his swimming
pool and then shoots himself.

Chapter IX

After Gatsby’s murder, Nick discovers that the
Buchanans have left town. Gatsby’s father, who
arrives for the funeral (September 1922), shares
Gatsby’s boyhood resolves with Nick. Wolfshiem
recounts the beginning of his relationship with
Gatsby, but Nick is unable to persuade him—or any
of Gatsby’s former guests—to attend the funeral.
Nick plans to leave the East, which seems haunted
to him after Gatsby’s death, but he first makes a
final break with Jordan. He encounters Tom and
correcdy guesses that Tom had told Wilson that
Gatsby owned the car that killed Myrtle. In the
novel’s coda, Nick reflects on the American dream
and Gatsby’s relation to it.

CRITICAL COMMENTARY

From the beginning Fitzgerald intended for his
third novel to be “intricately patterned” and “con¬
sciously artistic.” He achieved those goals through
structure, narrative technique, and style.

Structure and Narrative Technique

GG comprises nine chapters, with the first serving
as a prologue and the ninth as an epilogue. The
middle chapter, V, which describes the reunion of
Daisy and Gatsby, serves as the fulcrum or turning
point: Chapters I—IV lead up to the reunion, and
Chapters VI-IX deal with its consequences.

One of Fitzgerald’s greatest challenges was
making an essentially incredible character—Jay
Gatsby—believable. Gatsby is a mysterious figure
who inspires rumors and speculation and whose
own autobiographical accounts are not always
truthful. By dispersing Gatsby’s history throughout
the book in bits and pieces and not in chronologi¬
cal order, Fitzgerald forces the reader to become a
collaborator by reconstructing and evaluating the
information about Gatsby. The mixture of truth
and lies adds complexity to the task.

When Maxwell Perkins sent Fitzgerald his
detailed reply to the GG typescript, he made only
two criticisms. While acknowledging that it was
necessary for Gatsby’s career to remain mysterious,

Great Gatsby, The 91

he found the character “somewhat vague.” He also
criticized the inclusion of Gatsby’s lengthy biog¬
raphy in Chapter VIII when he tells it to Nick
and suggested that bits of it come out throughout
the book. (See Perkins to Fitzgerald, November
20, 1924, Life in Letters, pp. 86-88; Scott/Max, pp.
82-84.) Although these suggestions were in line
with the existing narrative structure, Fitzgerald
gave Perkins credit: “it was you who fixed up the
structure, not me” (c. July 10, 1925; Life in Letters,
p. 125; Scott/Max, p. 118).

Fitzgerald perfected the structure of GG when
he revised, rewrote, and rearranged the novel in
galley proof. He moved Nick’s account of Gatsby’s
youth and encounter with Dan Cody from Chapter
VIII to the beginning of Chapter VI, thus breaking
up the long narrative that Perkins had complained
about, and moved the passage in which Gatsby tells
Nick of his love for Daisy from Chapter VII to
Chapter VI. These changes helped to bolster a thin
chapter after the emotional peak of Gatsby and
Daisy’s reunion in Chapter V and also provided
curious readers with information about the mysteri¬
ous Gatsby earlier in the novel.

The major biographical and autobiographical
sketches of Gatsby, then, end up in three locations:
Chapter IV (Gatsby’s far-fetched, romantic account
of living “like a young rajah” [p. 52] and fighting in
the war, along with his decoration from Montene¬
gro and his photograph from Oxford); Chapter VI
(his youth and the Cody story); and Chapter VIII
(his courtship of Daisy). These are supplemented
by the rumors throughout the book and by Gatsby’s
father’s and Wolfshiem’s recollections of him in
Chapter IX.

The structure is intricately connected to Fitzger¬
ald’s narrative technique. Rather than having the
unbelievable Gatsby tell his story in his own voice,
he uses a third-party witness, Nick Carraway, to
relate bits and pieces of Gatsby’s history and to add
credibility to the story. Nick is a partially involved
narrator—a character in the novel who is not the
protagonist but who is not merely a nonparticipat¬
ing witness. Arthur Conan Doyle used Dr. Watson
as a partially involved narrator to tell the stories of
Sherlock Holmes, but Fitzgerald probably learned
this technique from English novelist JOSEPH CON¬

RAD, whose work he admired greatly. In Lord Jim
(1900) and “Heart of Darkness” (1902), Conrad
used a narrator named Marlow who observed and
related the story but gradually became involved in
the action himself while still retaining his unique
perspective. Nick functions in the same way, and
his role as the partially involved narrator provides
the immediacy of first-person narration with the
authorial perspective that is more common in third-
person narration. Fitzgerald’s narrative control in
GG marks his greatest technical advance over his
previous novels.

The first four paragraphs of Chapter I are
devoted to Nick’s self-introduction as narrator.
He announces his inclination to “reserve all judge¬
ments” (p. 5) but almost immediately adds that his
tolerance has limits. After the events related in the
novel, he “wanted the world to be in uniform and
at a sort of moral attention forever” (p. 5). Nick
serves as the moral center of the novel and eventu¬
ally passes judgment on all the major characters. In
his attempts to sort through, filter, and analyze what
he learns about Gatsby, Nick serves as a surrogate
for the reader and a reliable witness. To emphasize
his trustworthiness, he announces, “I am one of the
few honest people that I have ever known” (p. 48).
Nick evaluates his role thus: “I was within and with¬
out, simultaneously enchanted and repelled by the
inexhaustible variety of life” (p. 30).

This simultaneous enchantment and repulsion
apply to Nick’s attitude to Gatsby. At the begin¬
ning of the novel, he states that Gatsby “was
exempt from my reaction” (p. 5) and then imme¬
diately adds that Gatsby “represented everything
for which I have an unaffected scorn” (p. 6). The
last time he sees Gatsby alive, after the Plaza Hotel
confrontation with Tom and Myrtle’s death, he
shouts, “They’re a rotten crowd. . .. You’re worth
the whole damn bunch put together.” Again, he
qualifies his approval by reflecting, “It was the only
compliment I ever gave him, because I disapproved
of him from beginning to end” (p. 120).

Fitzgerald strengthens Nick’s role as narrator by
giving the impression that Nick is the author. In
the fourth paragraph of the novel, Nick identifies
Gatsby as “the man who gives his name to this
book” (p. 5). Toward the end of Chapter III, Nick

92 Great Gatsby, The

comments about “reading over what I have written
so far” (p. 46). Midway through Chapter V, Nick
explains his narrative strategy by indicating that
although Gatsby told him the Cody story later, he
is including it here to counter the rumors about
Gatsby.

Style and Imagery

In addition to structure and narrative technique,
Fitzgerald’s use of style and imagery in GG marked
a significant advance over his previous work. More
than a decade later, his advice to his daughter,
Scottie Fitzgerald, about writing reflected his
own skill in writing GG:

If you have anything to say, anything you feel
nobody has ever said before, you have got to
feel it so desperately that you will find some way
to say it that nobody has ever found before, so
that the thing you have to say and the way of
saying it blend as one matter—as indissolubly as
if they were conceived together. Let me preach
again for a moment: I mean that what you have
felt and thought will by itself invent a new style,
so that when people talk about style they are
always a little astonished at the newness of it,
because they think that it is only style that they
are talking about, when what they are talking
about is the attempt to express a new idea with
such force that it will have the originality of the
thought. (October 20, 1936; Life in Letters, pp.
313-314)

Fitzgerald frequently used the stylistic device of
synesthesia, or describing one sensory experience
in terms of another. In “the orchestra is playing
yellow cocktail music” (p. 34), he describes sound
in terms of color. He brings inanimate objects to
life with vivid imagery, such as his description of
the Buchanans’ lawn: “The lawn started at the
beach and ran toward the front door for a quarter
of a mile, jumping over sun-dials and brick walks
and burning gardens—finally when it reached the
house drifting up the side in bright vines as though
from the momentum of its run” (p. 9).

Fitzgerald juxtaposes nouns and adjectives in
unusual combinations for evocative effect: Gatsby’s
“blue gardens” (p. 33) and the “triumphant hat-

boxes” (p. 51) of his car, Daisy laughing with “thrill¬
ing scorn” (p. 17), Wolfshiem eating with “ferocious
delicacy” (p. 57), Tom insisting with “magnanimous
scorn” that Daisy ride with Gatsby (p. 105). He like¬
wise combines incongruous adjectives: Jordan has a
“pleasing, contemptuous expression” (p. 18) and a
“wan, scornful mouth” (p. 63), and Mrs. McKee is
“shrill, languid, handsome and horrible” (p. 26).

In letters to Scottie, Fitzgerald often invoked the
poetry of JOHN Keats, sometimes to emphasize the
importance and power of verbs: “All fine prose is
based on the verbs carrying the sentences” (spring
1938; Life in Letters, p. 357). In GG he uses striking,
unusual verbs. “The dust-covered wreck of a Ford
crouched in a dim corner” of Wilson’s garage (p. 22).
Tom “compelled” Nick “from the room as though
he were moving a checker to another square” (p.
13). During Tom and Gatsby’s confrontation in the
Plaza Hotel, the telephone book “slipped from its
nail and splashed to the floor” (p. 99). Turkeys are
“bewitched to a dark gold” for Gatsby’s parties (p.
33), and rather than the ordinary sunset, “the earth
lurches away from the sun” (p. 34).

Fitzgerald acknowledges his use of Keats in his
fiction when he instructs Scottie to read the poet’s
“Ode to a Nightingale” and notice the phrase he
used to title his fourth novel, Tender Is the Night.
He tells her to look in the same stanza for “another
phrase which I rather guiltily adapted to prose”
in GG (1938-1940; Correspondence, p. 522). His
description of Gatsby and Daisy sitting in Gatsby’s
mansion on a far couch “where there was no light
save what the gleaming floor bounced in from the
hall” (p. 74) echoes Keats’s lines “But here there
is no light, / Save what from heaven is with the
breezes blown.” Rather than the typical gleaming
or glowing or shining, Keats’s light is blown, and
Fitzgerald’s light bounces.

The famous catalogue of Gatsby’s guests at the
beginning of Chapter IV documents the cross-
section of society that frequented his parties.
Fitzgerald’s naming technique is noteworthy for
unusual combinations, such as “the Willie Vol-
taires” and “the Stonewall Jackson Abrams,”
for humorous invented names, such as “the
Chromes,” “the Backhyssons,” and “the Smirkes,”
and for the abundance of animal names, such as

Great Gatsby, The 93

Still photo from the 1949 movie version of The Great Gatsby, starring Alan Ladd. (Bruccoli Collection of F. Scott
Fitzgerald, University of South Carolina)

“the Leeches,” “the Fishguards,” “Doctor Web¬
ster Civet,” and “James B. (‘Rot-gut’) Ferret” (pp.
49-50). Tom Buchanan’s description of the guests
as a “menagerie” (p. 84) suits the list well. The
catalogue is the pinnacle of Fitzgerald’s habit of
making lists, and it exemplifies his ability to cap¬
ture the essence of a time and place—in this case
America in the JAZZ Age— with evocative details.

Symbols

Fitzgerald enhanced and multiplied the meanings
of his book by the effective use of symbols. Liter¬
ary critics have analyzed such elements as color
imagery, clothing, and cars, as well as the Valley
of Ashes with its connections to T. S. Eliot’s The

Waste Land and the eyes of Doctor T. J. Eckleburg,
which George Wilson regards as the eyes of God.
An exploration of two connected symbols—Daisy’s
pearl necklace and Meyer Wolfshiem’s cufflinks—
demonstrates Fitzgerald’s control of his material as
well as his craft of revision.

When Nick encounters Tom Buchanan after
Gatsby’s murder, Nick reflects on how Tom and
Daisy “smashed up things and creatures and then
retreated back into their money or their vast care¬
lessness or whatever it was that kept them together,
and let other people clean up the mess they had
made” (p. 139). Rather than driving home Tom’s
character by additional commentary, Nick assesses
Tom by symbolically linking him with the criminal

94 Great Gatsby, The

Wolfshiem: “Then he went into the jewelry store
to buy a pearl necklace—or perhaps only a pair
of cuff buttons—rid of my provincial squeamish-
ness forever” (p. 140). The necklace recalls the
$350,000 pearl necklace that Tom had given Daisy
the day before their wedding, when he shaped
her life with the force of money and position and
ended her wait for Gatsby. The cuff buttons indi¬
cate Tom’s kinship with the inhumanity of the
racketeer Wolfshiem, whose cuff buttons are made
of human molars. Fitzgerald emphasized the con¬
nection when revising the galleys by changing the
commas around “or perhaps only a pair of cuff but¬
tons” to dashes, drawing additional attention to the
link by the abruptness of the dashes rather than the
casual flow of the commas.

Themes

The four major themes of the novel are time,
money, the contrast between East and West, and
the American dream. Perhaps most dominant is
Gatsby’s struggle against time—the classic literary
theme of mutability or change. MALCOLM COWLEY
observed that Fitzgerald “was haunted by time, as
if he wrote in a room full of clocks and calendars”
(Introduction, The Stories of F. Scott Fitzgerald,
p. xiv). The concordance to GG lists more than
400 time words. Time, which appears 87 times in
the novel, is the third most frequent noun (after
house, which is used 95 times, and eyes, appear¬
ing 89 times). Other time words include clock, day,
days, hour, hours, minute, minutes, moment, moments,
o’clock, time-table, times, week, weeks, year, and years.
In the striking image quoted earlier, the Buchan¬
ans’ lawn jumps over sun-dials, and Nick jots his
list of Gatsby’s guests on an old time-table. The sev¬
enth word of the novel is years, and the final word
is past: “borne back ceaselessly into the past” (p.
141). The past cannot be repeated—despite Gats¬
by’s efforts—but neither can it be escaped.

The fulcrum scenes in Chapter V dramatize
Gatsby’s struggle against time. During the initial
awkwardness of his reunion with Daisy at Nick’s
house, Gatsby leans so far back against the man¬
telpiece that he nearly knocks off a defunct clock.
Nick reflects, “I think we all believed for a moment
that it had smashed in pieces on the floor” (p.

68). Time is almost—but not quite—shattered by
Gatsby and Daisy’s reunion. Later that day, while
showing Daisy around his mansion, Gatsby orders
his guest Klipspringer to play the piano; the sec¬
ond song is “Ain’t We Got Fun?” featuring the
words, “In the meantime, / In between time” (p. 75).
As Daisy leaves Gatsby’s party in the next chap¬
ter, the sound of a waltz called “Three O’Clock
in the Morning” seems to call her back inside for
fear, Nick speculates, that “one moment of magical
encounter” with “some authentically radiant young
girl” might suddenly blot out Gatsby’s “five years
of unwavering devotion” (p. 85). The real enemy,
however, is not some hypothetical guest but time
itself. Gatsby is determined to repeat the past, but
in the five years since their first meeting in 1917,
Daisy has hardened and become incapable of fulfill¬
ing his dreams.

Money is another major theme in GG, as it
is throughout Fitzgerald’s writings. Money docu¬
ments social class, is connected to the American
dream, and is intertwined with love. When they
first meet, Gatsby finds Daisy desirable both for
herself and for her inaccessibility. Her value in his
eyes is increased by the element of competition,
the multitude of men who have already loved
her. Her wealth—“her rich house . . . her rich,
full life” (p. 117)—is another factor that makes
her both desirable and unattainable to “a penni¬
less young man without a past” (p. 116). He does
not want to marry her for her money, but he is
attracted to “the youth and mystery that wealth
imprisons and preserves” and to “Daisy, gleaming
like silver, safe and proud above the hot struggles
of the poor” (p. 117).

Later, after Daisy’s “indiscreet voice” (p. 93)
alerts Tom to her relationship with Gatsby, Gatsby
explains to Nick, “Her voice is full of money.”
Nick’s reflection on Gatsby’s comment uses strik¬
ing imagery to convey the connection between
love and money so prevalent in Fitzgerald’s writ¬
ings: “That was it. I’d never understood before.
It was full of money—that was the inexhaustible
charm that rose and fell in it, the jingle of it, the
cymbals’ song of it. .. . High in a white palace the
king’s daughter, the golden girl. .. .” (p. 94). The
girl is inaccessible (high in a white palace), part of

Great Gatsby, The 95

the upper echelons of society (the king’s daughter),
and wealthy (golden)—all elements that increase
her desirability.

Gatsby—a self-made man—achieves financial
success, but he fails to understand how wealth
works in society. He does not realize that his newly
acquired money, gained through racketeering and
bootlegging, is not as good as the Buchanans’ fam¬
ily money. His use of money is exaggerated and
in poor taste. His clothing is always a bit wrong,
and his car is ostentatious; Tom calls it a “cir¬
cus wagon” (p. 94). In contrast to the Buchanans’
“Georgian Colonial mansion” (p. 9), his nouveau-
riche home—built during a “‘period’ craze” (p. 69)
by a brewer who tried to bribe his neighbors to
thatch their roofs with straw—is a mishmash of
styles, including a “high Gothic library” (p. 37),
“Marie Antoinette music rooms and Restoration
salons” (p. 71), “period bedrooms” (p. 71), and an
18th-century Scottish “Adam study” (p. 72).

Gatsby’s motivation for amassing his fortune is
to impress and regain Daisy, whom he had lost to
the wealthy Tom Buchanan. Gatsby’s purchased
proximity briefly reunites him with Daisy, and he
“revalued everything in his house according to the
measure of response it drew from her well-loved
eyes” (p. 72). Ultimately, however, his display of
wealth fails to impress her, and she is “offended”
and “appalled” by the “raw vigor” of West Egg (84).
Gatsby complains to Nick that Daisy did not like
his party, that he feels “far away from her,” and
that “it’s hard to make her understand” (p. 85) his
desire to “repeat the past” (p. 86).

Daisy’s reaction to West Egg highlights another
theme in GG: the conflict between East and West.
Fitzgerald sets this up in Chapter I when he con¬
trasts East Egg and the “less fashionable” West Egg
(p. 8). The East, home of Daisy and Tom, is corrupt
and corrupting, while the West is home to the inno¬
cent Gatsby. In the final pages of the novel, Nick
reminisces about coming back west for Christmas
holidays and reinforces his identification with the
Middle West. This reverie leads him to assess the
story of Gatsby in terms of an East/West conflict:
“I see now that this has been a story of the West,
after all—Tom and Gatsby, Daisy and Jordan and
I, were all Westerners, and perhaps we possessed

some deficiency in common which made us sub-
dy unadaptable to Eastern life” (p. 137). It is a
bit inaccurate to characterize all of those people as
Westerners—Louisville, Kentucky, home of Daisy
and Jordan, is not very far west—but Nick’s point is
clear. Nick’s description of West Egg as a grotesque
“night scene by El Greco” (p. 137) uses striking
images to emphasize the distortion and haunted¬
ness that the East represents to him, especially after
Gatsby’s death, when he decides to go back home
to the West.

The American Dream

Much of the novel’s significance is rooted in its
exploration of the American dream. Fitzgerald was
patriotic and saw America as the land of oppor¬
tunity. In “The Swimmers,” he explains America
as “a willingness of the heart” (Bits of Paradise, p.
210). His notes for his final novel, The Last Tycoon/
The Love of the Last Tycoon: A Western, describe
America as “the history of all aspiration” (Note¬
books, #2037). His sense of GG as a particularly
American story resonates through the novel, par¬
ticularly the coda; it is reinforced by his last-minute
request to Perkins to change the title to “Under the
Red White and Blue.”

Gatsby believes in the promises of America—in
“the orgastic future” (p. 141)—but his ambitions
are undermined by and confused with his illusions
about Daisy. In August 1924 Fitzgerald wrote to
LUDLOW Fowler: “Thats the whole burden of this
novel—the loss of those illusions that give such
color to the world so that you don’t care whether
things are true or false as long as they partake of
the magical glory” (Life in Letters, p. 78).

Gatsby’s aspirations stretch back to his boy¬
hood resolves, reminiscent of Ben Franklin, and
his youth, when Dan Cody discovers that he is
“extravagantly ambitious” (p. 78). His ambitions
are redirected, however, when he falls in love with
Daisy, as Fitzgerald explains in a passage full of rich
images:

Out of the comer of his eye Gatsby saw that
the blocks of the sidewalk really formed a lad¬
der and mounted to a secret place above the
trees—he could climb to it, if he climbed alone,

96 Great Gatsby, The

and once there he could suck on the pap of life,
gulp down the incomparable milk of wonder.

His heart beat faster and faster as Daisy’s
white face came up to his own. He knew that
when he kissed this girl, and forever wed his
unutterable visions to her perishable breath, his
mind would never romp again like the mind
of God. So he waited, listening for a moment
longer to the tuning fork that had been struck
upon a star. Then he kissed her. At his lips’
touch she blossomed for him like a flower and
the incarnation was complete, (pp. 86-87)

He could gulp the milk of wonder only if he
climbed alone. Yet he chose the girl and discovered
that “he had committed himself to the following of a
grail” (pp. 116-117). As he tells Nick, “Well, there
I was, way off my ambitions, getting deeper in love
every minute, and all of a sudden I didn’t care. What
was the use of doing great things if I could have a
better time telling her what I was going to do?” (p.
117)

In the coda to the novel, Nick reconnects Gats-
by’s aspirations with the American dream, expand¬
ing the significance of the green light at the end of
the Buchanans’ dock beyond Daisy to the prom¬
ises of the future offered by America throughout
history.

I became aware of the old island here that flow¬
ered once for Dutch sailors’ eyes—a fresh, green
breast of the new world. Its vanished trees, the
trees that had made way for Gatsby’s house,
had once pandered in whispers to the last and
greatest of all human dreams; for a transitory
enchanted moment man must have held his
breath in the presence of this continent, com¬
pelled into an aesthetic contemplation he nei¬
ther understood nor desired, face to face for the
last time in history with something commensu¬
rate to his capacity for wonder, (p. 140)

In the end, Nick concludes, only America, the
land of promise and opportunity, is commensurate
with the human capacity for wonder. Though our
goals have eluded us before, we will press on:

Tomorrow we will run faster, stretch out our
arms farther. . .. And one fine morning-

So we beat on, boats against the current,
borne back ceaselessly into the past (p. 141).

The Great Gatsby is widely regarded as one of
the prime contenders for the title “the great Ameri¬
can novel.” Fitzgerald himself made a similar claim
in a letter to Perkins: “I think my novel is about the
best American novel ever written” (c. August 25,
1924; Scott/Max, p. 76).

ADAPTATIONS

Owen Davis (1874-1956) dramatized GG. The
play opened on February 2, 1926, at the Ambas¬
sador Theatre in New York, starring James Rennie
(1890-1965) as Gatsby, Florence Eldridge (1901—
88) as Daisy Buchanan, and Edward H. Wever
(1899-1984) as Nick Carraway. The play, which ran

mnn BEuy m

LnDD FIELD CRREy

RUTH BRRR!) HOWARD

HussEy suLuvnn dr suvn

A Great Cast..

A Great Novel. .

A Great Motion Pic

Lobby poster for the 1949 movie. (Bruccoli Collection of
F. Scott Fitzgerald, University of South Carolina)

Great Gatsby, The 97

for 112 performances, was a success and received
good reviews; Fitzgerald received $7,630, as well
as $16,666 for rights to a 1926 movie adapted from
the play.

GG was made into a film three times: in 1926
by Famous Players (from the Owen Davis play),
in 1949 by Paramount (screenplay by Cyril Hume
and Richard Maibaum), and in 1974 by Paramount
(screenplay by Francis Ford Coppola).

GG was also made into a ballet (scenario and
choreography by Bruce Wells; original music by
Michael Moricz; world premiere by the Pittsburgh
Ballet Theatre, April 25, 1996), an opera (words
and music by John Harbison; song lyrics by Mur¬
ray Horowitz; world premiere by the Metropoli¬
tan Opera, December 20, 1999), and a television
production (A&E Television Networks, 2001;
teleplay by John McLaughlin; directed by Robert
Markowitz).

CHARACTERS AND PLACES

Astoria Section of the borough of Queens in
New York City. Fitzgerald incorrectly identifies it
as the place where the motorcycle policeman tries
to stop Jay Gatsby in Chapter IV of GG. The cor¬
rect location of this event is Long Island City, at
the Queens end of the 59th Street Bridge between
Manhattan and Queens.

Baedeker, Miss Drunk girl at Jay Gatsby’s party.

Baker, Jordan Golf champion based on Edith
Cummings (b. 1899), a friend of GlNEVRA King’s
who won the 1923 women’s golf championship. Jor¬
dan was a girlhood friend of Daisy Fay [Buchanan]
in Louisville. She dates Nick Carraway until they
quarrel after Myrtle Wilson’s death. Nick describes
her as “incurably dishonest” (p. 47).

Biloxi, "Blocks" Man who fainted at Tom and
Daisy Buchanan’s wedding. Jordan Baker’s recollec¬
tion of Biloxi’s false claim that he was president of
Tom’s class at Yale serves as an opening for Tom to
question Jay Gatsby’s claim that he attended Oxford.

Lobby card for the 1926 silent movie version
starring Lois Wilson as Daisy and Warner Baxter as
Gatsby. (Bruccoli Collection, University of
South Carolina)

“thrilling voice” is “full of money” (pp. 11, 94). Jay
Gatsby fell in love with her during the war, but
she married wealthy Tom Buchanan while Gatsby
was overseas. Gatsby, who is committed to her as
to a quest for the Grail, unsuccessfully attempts to
win her back. She becomes involved with him, but
when he urges her to leave Tom, she backs down.
She accidentally kills Myrtle Wilson while driving
Gatsby’s car, and she agrees to let Gatsby take the
blame. After the accident, Nick sees her and Tom
conversing as if “they were conspiring together” (p.
113); she leaves town with Tom.

Buchanan, Pammy Young daughter of Tom and
Daisy Buchanan. Fitzgerald stipulates Pammy’s age
as three, but the novel’s chronology indicates her
age as two: Daisy married Tom in June 1919, and
Jordan Baker specifies “the next April Daisy had
her little girl” (p. 61); thus, in summer 1922, the
time of the novel, the child would be two years old.
If Pammy were three, Daisy would have been at
least nine months pregnant at the time of her mar¬
riage; but it is clear that Fitzgerald did not intend
to imply illegitimacy or a forced marriage. He made
a mathematical error, as he did frequently.

Buchanan, Daisy Fay Nick Carraway’s cousin, Buchanan, Tom Daisy Buchanan’s husband
a beautiful young woman from Louisville whose and Myrtle Wilson’s lover. Tom came from an

98 Great Gatsby, The

extremely wealthy Chicago family and was a foot¬
ball star at Yale. After Myrtle’s death he reveals
to George Wilson that the car which killed Myrtle
belongs to Jay Gatsby, thereby setting up Gatsby’s
murder by Wilson.

Carraway, Nick Partially involved narrator of
GG. Daisy Buchanan’s cousin and Tom Buchan¬
an’s classmate at Yale; a bond salesman from an
established Middle Western family. Nick claims, “I
am one of the few honest people that I have ever
known” (p. 48). Although he begins by proclaim¬
ing his inclination to reserve judgments, he serves
as the moral center of the novel and eventually

passes judgment on all the major characters. Nick
evaluates his role thus: “I was within and with¬
out, simultaneously enchanted and repelled by the
inexhaustible variety of life” (p. 30). Nick’s role as
narrator is analyzed in more detail in the Critical
Commentary section.

Catherine Myrtle Wilson’s sister, who is at Myr¬
tle’s and Tom Buchanan’s party. At the inquest
following Jay Gatsby’s death, she responds to
Michaelis’s testimony regarding George Wilson’s
suspicions of his wife by swearing that Myrtle was
happy with her husband and had been into no
mischief.

Betty Field as Daisy and Barry Sullivan as Tom Buchanan in the 1949 movie version of The Great Gatsby.
(Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina)

Great Gatsby, The 99

Chase, Walter Tom Buchanan’s friend who
was involved in Gatsby and Wolfshiem’s illegal
business.

Civet, Doctor Webster Guest at Gatsby’s party.

Cody, Dan Millionaire miner who employed
young Jay Gatsby on his yacht for five years.

East Egg Fictional fashionable community on
the North Shore of Long Island, New York, corre¬
sponding to Manhasset Neck, an old-money com¬
munity. Tom and Daisy Buchanan live in East Egg,
across the bay from West Egg.

Eckleburg, Doctor T. J. This oculist’s bill¬
board overlooking the Valley of Ashes is an
important symbol in the novel; George Wilson
regards the eyes on the billboard as the eyes of
God. Fitzgerald’s description of the eyes—“their
retinas are one yard high”—is anatomically incor¬
rect because the retina, which is at the back of
the eye, cannot be seen. The correct reading is
“irises” or “pupils.”

Ferdie Daisy Buchanan’s chauffeur, who drives
her to Nick Carraway’s house for the surprise
reunion with Jay Gatsby.

the Finn Nick Carraway’s servant.

Gatsby, Jay Nick Carraway’s wealthy neighbor, a
mysterious man who inspires a great deal of “roman¬
tic speculation” (p. 37) regarding his origins and
the source of his wealth. “They say he’s a nephew
or cousin of Kaiser Wilhelm’s. That’s where all his
money comes from” (p. 28), Catherine tells Nick.
One party guest whispers, “Somebody told me they
thought he killed a man once,” and another argues,
“It’s more that he was a German spy during the
war” (p. 36). “He’s a bootlegger,” they speculate,
and this much is true, yet they take it further to
such exaggeration that it is almost parody: “One
time he killed a man who had found out that he
was nephew to von Hindenburg and second cousin
to the devil. Reach me a rose, honey, and pour me
a last drop into that there crystal glass” (p. 49). The

Betty Field as Daisy, Alan Ladd as Gatsby, and Barry
Sullivan as Tom in the 1949 movie version of The
Great Gatsby. (Bruccoli Collection of F. Scott Fitzgerald,
University of South Carolina)

tales get taller: “Contemporary legends such as the
‘underground pipe-line to Canada’ attached them¬
selves to him, and there was one persistent story
that he didn’t live in a house at all, but in a boat
that looked like a house and was moved secretly up
and down the Long Island shore” (p. 76).

As Nick becomes acquainted with him, Gatsby
gradually reveals bits (sometimes false) of his back¬
ground. He was born James Gatz but changed his
name to Jay Gatsby at age 17 when he encoun¬
tered wealthy miner Dan Cody, on whose yacht
he worked for five years. He fell in love with Daisy
Fay [Buchanan] while he was a poor army offi¬
cer stationed in Louisville, Kentucky, but his love
for her distracted him from his ambitions. While
Gatsby was in Oxford, England, after World War
I, Daisy married wealthy Tom Buchanan. Gatsby,
soon wealthy himself, bought his mansion on Long
Island to be near Daisy, who remains the object
of his romantic quest. His goal is for Daisy to
renounce her love for Tom and marry Gatsby just
as if it were five years before. When Nick warns
him that he cannot repeat the past, Gatsby cries
incredulously, “Can’t repeat the past? . . . Why of
course you can!” (p. 86). Gatsby and Daisy are
reunited, but when Tom reveals the illegal nature
of Gatsby’s business (which includes selling alco¬
hol and handling stolen securities), her resolve to

100 Great Gatsby, The

leave Tom is shaken. Gatsby takes the blame for
Myrtle Wilson’s death, although Daisy was the
driver of the car that killed her. So George Wilson
murders him.

Gatsby may have been based on Max Ger-
LACH, Fitzgerald’s Long Island acquaintance who
was an alleged bootlegger and who is the prob¬
able source for Gatsby’s defining expression, “old
sport.” See Matthew J. Bruccoli, ‘“How Are You
and the Family Old Sport?’—Gerlach and Gatsby,”
Fitzgerald/Hemingway Annual 1975, pp. 33-36.

Gatsby’s meeting with Dan Cody was based on
the boyhood experience of Robert Kerr, another
Great Neck friend of Fitzgerald; and Rudolph
Miller in “Absolution” may have been intended as
a picture of the young Jimmy Gatz. Fitzgerald wrote
to his friend, JOHN PEALE BISHOP: “You are right
about Gatsby being blurred and patchy. I never at
any one time saw him clear myself—for he started
as one man I knew and then changed into myself—
the amalgam was never complete in my mind” (c.
August 9, 1925; Life in Letters, p. 126).

Nick introduces and summarizes Gatsby—one
of the most recognizable characters in all of Ameri¬
can literature— thus:

If personality is an unbroken series of success¬
ful gestures, then there was something gorgeous
about him, some heightened sensitivity to the
promises of life, as if he were related to one of
those intricate machines that register earthquakes
ten thousand miles away. This responsiveness
had nothing to do with that flabby impression¬
ability which is dignified under the name of the
“creative temperament”—it was an extraordinary
gift for hope, a romantic readiness such as I have
never found in any other person and which it is
not likely I shall ever find again (p. 6).

Gatz, Henry C. Jay Gatsby’s father, who arrives
for his son’s funeral and is awed by the splendor
of his mansion. He eagerly shows Nick Carraway
a schedule and list of resolves that Gatsby had
written as a boy on a flyleaf of Hopalong Cassidy
(1910).

Howard, Mrs. Sigourney Jordan Baker’s aunt.

Kaye, Ella Newspaperwoman who was involved
with Dan Cody and who inherited his money. Based
on journalist “Nellie Bly” (Elizabeth Cochrane Sea¬
man, 1867-1922). See Brooke Kroeger, Nellie Bly
(New York: Times Books, 1994).

Klipspringer, Ewing A frequent guest at Jay
Gatsby’s house, thus known as “the boarder.” He
plays the piano when Daisy Buchanan first goes to
Gatsby’s house. Nick Carraway is angered by his
unwillingness to attend Gatsby’s funeral.

Lucille Party guest to whom Jay Gatsby sent a
new evening gown after she tore her gown on a
chair at one of his parties.

McKee, Chester Photographer and guest at Tom
Buchanan and Myrtle Wilson’s party.

McKee, Lucille Wife of Chester McKee; guest at
Tom Buchanan and Myrtle Wilson’s party.

Michael is A young Greek who owns the restau¬
rant near George Wilson’s garage. He stays with
Wilson for a while after Myrtle’s death and tries
to comfort him. At the inquest following Jay Gats¬
by’s death, he reveals Wilson’s suspicions about his
wife. He was named “Mavromichaelis” in the man¬
uscript, but Fitzgerald changed the name in proof.

Owl Eyes Drunken, bespectacled, stout guest
whom Nick Carraway and Jordan Baker encoun¬
ter in the library at Jay Gatsby’s party and who is
later in a car accident. He is the only former party
guest to attend Gatsby’s funeral, and he delivers
the eulogy “The poor son-of-a-bitch” (p. 136). A
connection has been suggested between this char¬
acter and Ring Lardner, who was called Owl Eyes
when he was a sportswriter, but Lardner did not
wear glasses and was not stout.

Parke Young man who was caught handling sto¬
len securities. Slagle’s report of this event reveals
one aspect of Jay Gatsby’s illegal activities.

Rosenthal, Rosy Meyer Wolfshiem’s friend who
was murdered in front of the Metropole Hotel, an

Great Gatsby, The 101

event based on the 1912 murder of Herman Rosen¬
thal in Times Square.

Slagle Man whose telephone call after Jay Gats-
by’s death reveals that Gatsby had been involved in
handling stolen securities.

Sloane, Mr. Man who brings Tom Buchanan to
Jay Gatsby’s house for a drink.

Stella Meyer Wolfshiem’s receptionist, who tries
to send Nick Carraway away.

Valley of Ashes Fictional location based on
the Corona dump in the New York borough of
Queens. The dump, which was being filled with
ashes, horse manure, and garbage, is the present
site of Shea Stadium. T. S. Eliot’s The Waste
Land (1922), which Fitzgerald admired, is a likely
source as well. George Wilson’s garage is in the
Valley of Ashes.

West Egg Fictional community on the North
Shore of Long Island, New York, corresponding
to Great Neck, a popular residence for show busi¬
ness people when Fitzgerald lived there in 1922—
24. Nick Carraway and Jay Gatsby both reside in
West Egg, which is less fashionable than neighbor¬
ing East Egg.

Wilson, George Myrtle Wilson’s spiritless hus¬
band, the owner of a garage in the Valley of Ashes.
He determines to find Myrtle’s killer, and when
Tom Buchanan reveals that Jay Gatsby owns the
car that killed her, Wilson kills Gatsby and himself.

Wilson, Myrtle George Wilson’s wife and Tom
Buchanan’s mistress. She is killed when Daisy
Buchanan accidentally hits her while driving Jay
Gatsby’s car.

Wolfshiem, Meyer Gambler who, according
to Jay Gatsby, fixed the 1919 World’s Series and
who was involved with Gatsby in selling alcohol
and in other illegal activities. Despite Nick Car-
raway’s attempts to persuade him to attend Gatsby’s
funeral, he protests that he cannot be involved.

Based on gambler and racketeer Arnold Roth-
STEIN, who had close connections with Edward M.
Fuller, a stockbroker who, with his partner William
F. McGee, was indicted for fraud. Fitzgerald had
mentioned the Fuller-McGee case to Perkins during
his revision of the novel (c. December 20,1924; Life
in Letters, p. 91; Scott/Max, p. 89).

See Henry Dan Piper, “The Fuller-McGee
Case,” Fitzgerald’s “The Great Gatsby", edited by
Piper (New York: Scribners, 1970), pp. 171-184.

FURTHER READING

Quotations are from The Great Gatsby, edited by
Matthew J. Bruccoli (Cambridge: Cambridge Uni¬
versity Press, 1991).

Berman, Ronald. The Great Gatsby and Fitzgerald’s
World of Ideas (Tuscaloosa: University of Alabama
Press, 1997).

Bloom, Harold, ed. F. Scott Fitzgerald’s The Great
Gatsby (New York: Chelsea House, 1986).
Bruccoli, Matthew J., ed. F. Scott Fitzgerald’s The Great
Gatsby: A Literary Reference (New York: Carroll &
Graf, 2002).

Bruccoli, Matthew J., ed. New Essays on The Great
Gatsby (Cambridge: Cambridge University Press,
1985).

Crosland, Andrew T. A Concordance to F. Scott Fitzger¬
ald’s The Great Gatsby (Detroit, Mich.: Bruccoli
Clark/Gale Research, 1975).

Donaldson, Scott, ed. Critical Essays on F. Scott Fitzger¬
ald’s The Great Gatsby (Boston: Hall, 1984).
Fitzgerald, F. Scott. E Scott Fitzgerald Manuscripts 111: GG:
The Revised and Rewritten Galleys, edited by Matthew
J. Bruccoli (New York; London: Garland, 1990).
Fitzgerald. The Great Gatsby, edited by Matthew J.
Bruccoli (Cambridge: Cambridge University Press,
1991).

Fitzgerald. The Great Gatsby: A Facsimile of the Manu¬
script, edited with an introduction by Matthew J.
Bruccoli (Washington, D.C.: Bruccoli Clark/NCR
Microcard Books, 1973).

Fitzgerald. Trimalchio: A Facsimile Edition of the Origi¬
nal Galley Proofs for The Great Gatsby, edited with
an afterword by Matthew J. Bruccoli (Columbia:
University of South Carolina Press with Thomas
Cooper Library, 2000).

102 "Gretchen's Forty Winks"

Gross, Dalton and Maryjean Gross. Understanding The
Great Gatsby: A Student Casebook to Issues, Sources,
and Historical Documents (Westport, Conn.: Green¬
wood Press, 1998).

Hoffman, Frederick J., ed. and intro. The Great
Gatsby: A Study (New York: Scribner, 1962).

Lathbury, Roger. The Great Gatsby (Farmington Hills,
Mich.: Manly / The Gale Group, 2000).

Lehan, Richard D. The Great Gatsby: The Limits of
Wonder (Boston: Twayne, 1990).

Lockridge, Ernest, ed. Twentieth Century Interpretations
of The Great Gatsby (Englewood Cliffs, N.J.: Pren¬
tice Hall, 1968).

Pendleton, Thomas A. I’m Sorry about the Clock: Chro¬
nology, Composition, and Narrative Technique in The
Great Gatsby (Selinsgrove, Pa.: Susquehanna Uni¬
versity Press, 1993).

Piper, Henry Dan, ed. Fitzgerald’s The Great Gatsby:
The Novel, The Critics, The Background (New York:
Scribner, 1970).

“Gretchen’s Forty Winks”

Fiction. Written January 1924. The SATURDAY EVE¬
NING POST 196 (March 15, 1924), 14-15, 128,130,
132; All the Sad Young Men.

Roger Halsey tells his wife, Gretchen Halsey, that
the next six weeks are the most important in his
life because he has the opportunity to acquire some
big accounts for his advertising business; she com¬
plains that he already works too much. They go to
dinner with George Tompkins, an interior decorator
who holds up his own “balanced life” as a model for
Roger. During the next few weeks, while Roger works
overtime, Gretchen frequently goes out with George,
until Roger confronts him and forbids him to return
to their house. Desperate to complete one final day
of work uninterrupted, Roger drugs Gretchen, and
she sleeps through a whole day. He completes his
work and wins one of the big accounts he has been
seeking. Gretchen awakes confused and scared when
she realizes that she has lost a whole day. Roger
sends for Doctor Gregory, who informs Roger that he
has never looked better in his life, but that George
Tompkins has had a nervous breakdown.

CHARACTERS

Bebe Roger and Gretchen Halsey’s servant.

Garrod, H. G. Important client whose business
Roger Halsey is trying to win.

Golden, Mr. Superintendent of Roger Halsey’s
office building; he comes to Roger’s office to collect
the overdue rent.

Gregory, Doctor Doctor who comes to see
Gretchen Halsey after she wakes from her drugged
sleep. He informs the Halseys about George Tomp¬
kins’s nervous breakdown.

Halsey, Gretchen Selfish wife whose eagerness
for social excitement hinders the business of her
husband, Roger Halsey, until he drugs her while he
completes an important project.

Halsey, Maxy Roger and Gretchen Halsey’s baby.

Halsey, Roger Young man who is struggling to
make his advertising business successful. He drugs
his selfish wife, Gretchen Halsey, so that he can
complete a crucial project.

Kingsley, Mr. Druggist who supplies Roger Halsey
with the drugs to knock out his wife, Gretchen
Halsey.

Tompkins, George Interior decorator with whom
Gretchen Halsey spends time while her husband is
working long hours. Though Tompkins constantly
holds up his own “balanced” life as an example to
Roger Halsey, it is he, not Roger, who suffers from a
nervous breakdown.

Grit

Film Guild, 1924

Fitzgerald was paid $2,000 for his original story
for this movie and received credit for provid¬
ing the “source”; his story does not survive. The
scenario was written by James Ashmore Creel-

'Head and Shoulders" 103

man (1901-41); the movie was directed by Frank
Tuttle (1892-1963) and starred Glenn Hunter
(1893-1945) and Clara Bow (1905-65). In this
crook melodrama, a young man who is afraid of
guns exposes a gang of criminals and wins Orchid
McGonigle, an underworld girl. Fitzgerald’s friend
TOWNSEND Martin was a partner in the Film
Guild.

“Guest in Room Nineteen,
The”

Fiction. Written March 1937. Esquire 8 (October
1937), 56, 209; The Price Was High.

Stroke victim Mr. Cass wonders about the
mysterious hotel guest in room 19 who, the night
watchman tells him, comes in late every night and
whose description matches that of Cass’s partner,
John Canisius. When the watchman collapses
while lifting a heavy log, Cass suspects the guest of
being involved. When Cass later meets the guest,
he asks the man to help him lift a log; but Cass dies
from the effort. The guest turns out to be the hotel
manager’s brother.

CHARACTERS

Canisius, John Mr. Cass’s partner, who looked
like the watchman’s description of the guest in
room 19.

Cass, Mr. Stroke victim and hotel guest who is
suspicious of the mysterious guest in room 19.

guest in room 19 (unnamed) Mysterious hotel
guest who comes in late each night and turns out
to be the hotel manager’s brother.

hotel manager (unnamed) Man who regrets
the death of his guest, Mr. Cass.

watchman (unnamed) Man who tells Mr. Cass
about the guest in room 19 and who dies while lift¬
ing a heavy log.

“Handle with Care”

Autobiographical essay. ESQUIRE 5 (April 1936),
39, 202; The Crack-Up. Sequel to “The Crack-Up”
and “Pasting It Together.”

Fitzgerald describes with contempt his resolu¬
tion to survive his crack-up by becoming a writer
only, by ceasing “any attempts to be a person—to
be kind, just or generous” (CU, p. 82), by giv¬
ing up “the old dream of being an entire man in
the Goethe-Byron-Shaw tradition, with an opu¬
lent American touch, a sort of combination of J.
P. Morgan, Topham Beauclerk and St. Francis of
Assisi” (p. 84).

The titles of “Pasting It Together” and “Handle
with Care” were transposed in the early printings
of CU.

“Head and Shoulders”

Fiction. Written November 1919. The SATURDAY
Evening Post 192 (February 21, 1920), 16-17,
81-82, 85-86; Flappers and Philosophers.

Horace Tarbox enters PRINCETON at age 13
and begins work on his Master of Arts at Yale at
age 17. His chief interest is modern philosophy
until he meets and falls in love with actress Mar¬
cia Meadow, whom he soon marries. He finds a
job as a clerk, and Marcia continues her dancing
act until she is five months pregnant. Then Hor¬
ace, who had taken up gymnastics for his health
at her suggestion, takes on additional work as
a gymnastic performer. After the birth of their
daughter, the book that Marcia wrote during her
pregnancy is published; she receives praise for
her style and her use of vernacular. When Mar¬
cia’s publisher brings philosopher Anton Laurier,
Horace’s idol, to meet Marcia, whose book he
admires, Horace is shaken by the reversal in their
roles as Head (now Marcia) and Shoulders (now
Horace).

“Head and Shoulders” was Fitzgerald’s first story
in the Saturday Evening Post. It was made into a lost
movie (retitled The Chorus Girl’s Romance) in 1920.

104 "Her Last Case"

CHARACTERS

fat man (unnamed) Man who is impressed by
Horace Tarbox’s gymnastic performance and intro¬
duces him to agent Charlie Paulson.

Jordan, Mr. Magazine publisher who brings
Anton Laurier to meet Marcia Meadow Tarbox.

Laurier, Anton French philosopher; Horace
Tarbox’s idol, who is charmed by Marcia Meadow
Tarbox’s book.

Meadow, Marcia An actress, famous for her
shimmy, who marries Horace Tarbox. She achieves
widespread recognition for her book, Sandra Pepys,
Syncopated, which she writes during her pregnancy
after giving up dancing.

Moon, Charlie Horace Tarbox’s cousin, who
bribes actress Marcia Meadow to visit Horace.

Paulson, Charlie Horace Tarbox’s agent for his
gymnastic performances.

Robbins Cabaret singer who did a song-and-
dance routine with Marcia Meadow.

Wendell, Peter Boyce Newspaper columnist
who wrote a poem about Marcia Meadow, praised
the style of her thank-you letter, and later spon¬
sored and wrote an introduction for her book.

“Her Last Case”

Fiction. Written August 1934. The SATURDAY Eve-
ning Post 207 (November 3, 1934), 10-11, 59,
61-62, 64; The Price Was High.

Bette Weaver, a nurse who is engaged to marry
Doctor Howard Carney in a month, takes Ben
Dragonet as her last case. Dragonet, who had been
wounded in World War I, has trouble sleeping and
wanders through the house at night. Dragonet and
Bette get to know each other well, and when he
tells her that he is in love with her, she wonders
if she is falling in love with him, too. Just then his

ex-wife and daughter arrive, and his housekeeper,
Jean Keith, tells Bette that Dragonet’s wife has
always been evil and harmful to him. Mrs. Drag¬
onet leaves their daughter, Amalie Eustace Bed¬
ford Dragonet, with her father, who is reluctant to
keep her. Bette decides to leave, but after a brief
visit, her fiance urges her to stay and finish the
case. When he leaves, she realizes that she is going
to stay with Dragonet forever rather than marry
Carney.

Dragonet’s home in Warrenburg, Virginia,
was inspired by Fitzgerald’s visit to Welbourne,
a mansion in Middleburg, Virginia, where MAX¬
WELL PERKINS took Fitzgerald to visit his cousin,
Elizabeth Lemmon, in July 1934. On September
6, 1934, Fitzgerald wrote to Lemmon: “This is
the story that I got out of ‘Welbourne,’ with my
novelist instinct to make copy out of social experi¬
ence. I don’t think for a moment that this does
any justice to ‘Welbourne’ but it might amuse you
as conveying the sharp impression that the place
made on me during a few weekends” (Correspon¬
dence, p. 383).

CHARACTERS

Bliss, Doctor Ben Dragonet’s doctor.

Carney, Dr. Howard Bette Weaver’s fiance,
whom she leaves for Ben Dragonet.

Dragonet, Amalie Eustace Bedford Ben Drag¬
onet’s young daughter, who comes to live with him
when her mother wants to get rid of her.

Dragonet, Ben Bette Weaver’s last patient, a
man who never got over World War I and who is
harmed by the evil influence of his ex-wife.

Dragonet, Mrs. Ben Ben Dragonet’s ex-wife and
cousin, who has been a harmful influence on him
since their childhood.

Harrison, Doctor Doctor who assigns Bette
Weaver to Ben Dragonet’s case.

Keith, Jean Ben Dragonet’s housekeeper.

"He Thinks He's Wonderful" 105

Weaver, Bette Nurse who falls in love with her
patient, Ben Dragonet, and decides to break her
engagement to Dr. Howard Carney.

“He Thinks He’s Wonderful”

Fiction—Basil Duke Lee story. Written July 1928.
The Saturday Evening Post 201 (September 29,
1928), 6-7, 117-118, 121; Taps at Reveille; The
Basil and Josephine Stories.

Basil Duke Lee, age 15, returns home for the
summer after an unhappy year at school. When
Margaret Torrence tells everyone that Basil is
wonderful, he suddenly becomes popular, and, in
a game of Truth, all the girls name him as their
favorite boy. Basil’s popularity goes to his head, and
when word spreads that he thinks he is wonder¬
ful, people begin to snub him. While visiting Bill
Kampf, Basil meets Minnie Bibble; they kiss and
make plans to see each other in the future. Basil
loses an opportunity to go on a trip with Minnie’s
family when he talks too much about himself to
Minnie’s father. Basil borrows his grandfather’s
electric car and offers a ride to Imogene Bissel, with
whom he had earlier imagined himself in love.

CHARACTERS

Bibble, Ermine Gilberte Labouisse (Minnie)

Girl who falls in love with Basil Duke Lee while she
is visiting her cousin, Bill Kampf. This character
also appears in “Forging Ahead” and “Basil and
Cleopatra.”

Bibble, Mr. and Mrs. Minnie Bibble’s parents.
In the beginning, Mr. Bibble is initially flattered by
Basil Duke Lee’s attentiveness to his conversation;
but after Basil talks too much about himself, Mr.
Bibble decides not to take him along on their fam¬
ily trip as he had previously planned. These charac¬
ters also appear in “Forging Ahead” and “Basil and
Cleopatra.”

Bissel, Imogene Girl who names Basil Duke
Lee as her favorite boy during a game of Truth.
Basil believes he is in love with her, but she is

no longer interested in him after word spreads
that he thinks he is wonderful. However, at the
end of the story, she is eager to go riding with
him in his grandfather’s car. This character, based
on Fitzgerald’s St. Paul friend Margaret Arm¬
strong, also appears in “The Scandal Detectives”
and “The Captured Shadow.”

Blair, Hubert The boys admire Hubert’s ath¬
letic prowess, and the girls find him fascinating.
He rides with Joe Gorman to Connie Davies’s
dance. Margaret Torrence tells Basil Duke Lee
that Hubert and Joe have told everyone that Basil
thinks he is wonderful. This character, based on
Fitzgerald’s St. Paul friend and rival Reuben
Warner, also appears in “The Scandal Detec¬
tives,” “A Night at the Fair,” and “The Captured
Shadow.”

Buckner, Riply, Jr. Boy who takes Imogene Bissel
to Connie Davies’s dance and resents Basil Duke
Lee’s attempt to persuade Imogene to have supper
with him rather than Riply. This character, based
on Fitzgerald’s St. Paul friend Cecil Read, also
appears in “The Scandal Detectives,” “A Night at
the Fair,” and “The Captured Shadow.”

Crum, Lewis Boy who rides with Joe Gorman to
Connie Davies’s dance. This character also appears
in “The Freshest Boy” and “Forging Ahead.”

Davies, Connie Girl who hosts a dance at her
family’s lake house. This character also appears
in “The Scandal Detectives” and “The Captured
Shadow.”

Gorman, Joe Basil Duke Lee admires Joe’s sing¬
ing, and Joe is impressed by Basil’s popularity with
the girls. While spending the night with Joe, Basil
offends him by offering advice on how to be more
popular; in retaliation, Joe tells their friends that
Basil thinks he is wonderful.

Kampf, William S. (Bill) Boy who invites Basil
Duke Lee for a weekend visit while his cousin
Minnie Bibble is staying at his house. This char¬
acter, based on Fitzgerald’s St. Paul friend PAUL

106 "High Cost of Macaroni, The"

BALLION, also appears in “The Scandal Detec¬
tives,” “The Captured Shadow,” and “Forging
Ahead.”

Learning, Elwood He takes Margaret Torrence
to Connie Davies’s dance. This character also
appears in “The Scandal Detectives” and “A Night
at the Fair.”

Lee, Basil Duke See entry for this character
under The Basil and Josephine Stories.

Reilly, Grandfather Basil Duke Lee’s grand¬
father, who lets Basil drive his electric car. This
character also appears in “The Freshest Boy” and
“Forging Ahead.”

Torrence, Margaret Girl who tells everyone
that Basil Duke Lee is wonderful, which makes
him suddenly popular. At Connie Davies’s dance
Margaret reveals to Basil that Joe Gorman and
Hubert Blair have told everyone that Basil thinks
he is wonderful. This character, based on Fitzger¬
ald’s St. Paul friend Marie Hersey, also appears
in “The Scandal Detectives” and “The Captured
Shadow.”

Van Schellinger, Gladys A sheltered rich girl
who names Basil Duke Lee as her favorite boy in
town. This character also appears in “A Night at
the Fair” and “The Captured Shadow.”

“High Cost of Macaroni, The”

Article. Interim 4, nos. 1-2 (1954), 6-15.

This unfavorable account of the Fitzgeralds’
1924-25 visit to Italy was intended as a compan¬
ion piece to “How to Live on $36,000 a Year” (April
1924) and “How to Live on Practically Nothing a
Year” (September 1924), but HAROLD Ober was
unable to sell it to a magazine during Fitzgerald’s
lifetime. Fitzgerald incorporated two incidents
from the article into Tender Is the Night: a dispute
over a table allegedly reserved for a princess, and a

fight with taxi drivers and a policeman—which he
treated seriously in TITN.

“His Russet Witch”

Fiction. Written November 1920. Metropolitan
Magazine 53 (February 1921), 11-13, 46-51; in
Tales of the Jazz Age as ‘“O Russet Witch!”’

New York bookstore employee Merlin Grainger
enjoys looking through his apartment window at
Caroline, a young woman whose apartment build¬
ing faces his. One day she comes to the Moonlight
Quill Bookshop to see him, and she throws books
around and wrecks the store. A year and a half
later, he proposes to fellow employee Olive Masters
during dinner. Caroline, who has been drinking,
comes to the restaurant with three men and dances
on the table; Olive regards her as wicked. Mer¬
lin and Olive marry and have a baby, and Merlin
is promoted to manager of the bookshop. As he
reaches age 35 and becomes aware of the slowing
down of his life, he sees Caroline causing a traffic
jam outside a church as men swarm her car; again
Olive disapproves. When he is 65 and sole owner
of the bookshop, Caroline comes to the shop to buy
a first edition; she and Merlin discuss what she has
meant to him through the years. After she leaves,
Merlin is startled when bookstore employee Miss
McCracken identifies her as dancer Alicia Dare.
He suddenly realizes that he has always been a fool
and has wasted his opportunities for excitement
and glamour.

CHARACTERS

Caroline Girl whom Merlin Grainger watches
through his apartment window and whom he calls
Caroline. She comes to symbolize for him glam¬
our and romance. Many years later he finds out
that she was dancer Alicia Dare, now Mrs. Thomas
Allerdyce.

chauffeur (unnamed) Man who is unable to
identify correctly the first edition for which Caroline
has sent him into the Moonlight Quill Bookshop.

'Honor of the Goon, The" 107

Grainger, Arthur Son of Merlin and Olive
Grainger.

Grainger, Merlin Employee of the Moonlight
Quill Bookshop who watches Caroline through his
apartment window and encounters her at various
times throughout his life.

grandson (unnamed) Young man whose grand¬
mother, Caroline, has promised him $5,000 if he
does not smoke before his majority; she catches
him smoking when she enters the Moonlight Quill
Bookshop to purchase a first edition.

Masters, Olive Stenographer at the Moonlight
Quill Bookshop who marries Merlin Grainger.

McCracken, Miss Clerk at the Moonlight Quill
Bookshop.

Quill, Mr. Moonlight Proprietor of the Moon¬
light Quill Bookshop, which he leaves to Merlin
Grainger when he dies.

“Homage to the Victorians”

Review of The Oppidan by Shane Leslie. New York
Tribune, May 14, 1922, section 4, p. 6; In His Own
Time. Fitzgerald comments that this novel about
Eton in the late 1890s “interested me enormously”
(In His Own Time, p. 135).

“Homes of the Stars, The”

Fiction—Pat Hobby story. Submitted March 28,
1940. Esquire 14 (August 1940), 28,120-121; The
Pat Hobby Stories.

Tourists Mr. and Mrs. Deering R. Robinson mis¬
take Pat Hobby for a man who gives tours of the
homes of HOLLYWOOD stars; since he needs money,
he agrees to guide them. They are impressed when
actor Ronald Colman greets him by name. When
they ask to see the home of Shirley Temple (b. 1928),

he takes them to the house next to hers, which he
does not know belongs to producer Harold Marcus.
When Marcus arrives unexpectedly, Pat sneaks out
and abandons the Robinsons.

CHARACTERS

Colman, Ronald (1891-1958) Historical figure
and character in “The Homes of the Stars.” Famous
actor who greets Pat Hobby by his first name,
impressing the tourists Pat is guiding.

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Marcus, Harold Powerful movie producer
for whom Pat Hobby had been press agent two
decades ago. Pat takes a tourist couple into Mar¬
cus’s house on the pretense that it is the home of
Shirley Temple. This character also appears in
“Pat Hobby and Orson Welles” and “On the Trail
of Pat Hobby.”

Robinson, Mr. and Mrs. Deering R. Tourists
who ask Pat Hobby to take them on a tour of the
homes of Hollywood stars.

Venske, Gus Man who gives tours of the homes
of Hollywood stars.

“Honor of the Goon, The”

Fiction. Written April 1937. ESQUOtE 7 (June
1937), 53, 216.

Bomar Winlock, who is noted for his trick of fall¬
ing down stairs, dislikes fellow college student, Ella
Lei Chamoro, a Malay, because she thought he was
really hurt and tried to help; he was embarrassed
and walked away rather than completing his trick.
In consequence, he dubs her “the Goon,” and she
is ostracized. During her junior year, her relative,
Mister Lei Chamoro, comes to campus to avenge
her. He goes to the dormitory room of Winlock
and Oates Mulkley, who also called Ella a “goon,”
and has his Norwegian chauffeur, Fingarson, beat
them up. Then he and Fingarson disfigure all the

108 "Hot & Cold Blood'

photographs of girls in the room, as well as photos
of Winlock’s father and dead mother.

CHARACTERS

Fingarson Norwegian chauffeur whom Mister
Lei Chamoro instructs to beat up Bomar Winlock
and Oates Mulkley for insulting his relative, Ella
Lei Chamoro.

Forney, Edward College dean whom Mister Lei
Chamoro confronts with the insults his relative, Ella
Lei Chamoro, has suffered from fellow students.

Lei Chamoro, Ella Malay college student whom
Bomar Winlock dubs “the Goon” and whose rela¬
tive, Mister Lei Chamoro, avenges the insults she
has suffered.

Lei Chamoro, Mister Relative of Ella Lei Cham¬
oro who avenges the insults she has suffered by
having his Norwegian chauffeur, Fingarson, beat
up two of her fellow college students.

Mulkley, Oates Bomar Winlock’s roommate who
is beaten up by Fingarson for insulting fellow student
Ella Lei Chamoro.

Winlock, Bomar College student who is noted
for his trick of falling down stairs and who is beaten
up by Fingarson for insulting fellow student Ella Lei
Chamoro, whom he dubbed “the Goon.”

“Hot & Cold Blood”

Fiction. Written April 1923. Hearst’s INTERNA¬
TIONAL 64 (August 1923), 80-84, 150-151; All the
Sad Young Men.

When Jaqueline Mather discovers that her hus¬
band, Jim Mather, has lent money to Ed Bronson,
she rebukes him for being “an easy mark.” On the
streetcar on their way home, she is enraged when
he gives his seat to a fat woman who crowds her,
and she calls him “a professional nice fellow.” Their
argument is forgotten until Jaqueline discovers
that Ed Bronson has bought an expensive sports-

car, although he has not repaid Jim’s loan. Jaque¬
line, who is now pregnant, persuades Jim that she
needs him more than the other people he helps
do. When Fred Drake refuses to lend Jim $50, Jim
decides that Jaqueline has been right about his own
excessive generosity and determines to change his
ways. He refuses to lend much-needed money to
his father’s old friend, Edward Lacy, and decides
not to give up his seat on the streetcar to a woman
who is swaying in the aisle. The woman, who faints,
turns out to be Jaqueline; after taking her home to
rest, Jim telephones Mr. Lacy to say that he can
lend him the money.

CHARACTERS

Bronson, Ed Young man to whom Jim Mather
lends $300 to help him out of trouble with a girl.

Clancy, Miss Jim Mather’s secretary.

Drake, Fred Businessman who refuses to lend
Jim Mather 50 dollars for a C.O.D. delivery. His
policy of not lending money to friends makes Jim
reconsider his own generosity.

Lacy, Edward Old man who had once loaned
money to Jim Mather’s father. Now a failure, he
asks Jim for a loan to save his insurance policy, but
Jim initially refuses.

Mather, Jaqueline Woman who rebukes her
husband, Jim Mather, for letting people abuse his
generosity, saying that she needs him to save him¬
self for her.

Mather, Jim Man who temporarily abandons
his natural generosity when his wife, Jaqueline
Mather, rebukes him for letting people take advan¬
tage of him.

“Hotel Child, The”

Fiction. Written November 1930. The SATURDAY
Evening Post 203 (January 31, 1931), 8-9, 69, 72,
75; Bits of Paradise.

'How I Would Sell My Book If I Were a Bookseller" 109

Fifi Schwartz, an 18-year-old American girl,
has been traveling in EUROPE with her mother and
brother for three years. The other guests at the
Flotel des Trois Mondes in SWITZERLAND criticize
her behavior and elaborate clothes. When her
mother suddenly plans for the family to return to
America, Fifi decides to marry Count Borowki but
changes her mind when she discovers that he has
robbed her mother.

Fitzgerald recycled material from this story
for Tender Is the Night, which shares its concern
with the influence of corrupt European society on
Americans. In “The Hotel Child,” the corruption
is personified as the Furies, who “were after Fifi
now—after her childish complacency and her inno¬
cence, even after her beauty—out to break it all
down and drag it in any convenient mud” (p. 606).
However, Fitzgerald offers hope for Fifi, concluding,
“There was a certain doubt among the eldest and
most experienced of the Furies if they would get
her, after all” (p. 615).

In January 1931 Fitzgerald wrote to HAROLD
Ober about this story: “Practically the whole damn
thing is true, bizarre as it seems. Lord Allington +
the famous Bijou O’Connor were furious at me put¬
ting them in + as for the lovely Jewess (real name
Mimi Cohn) I don’t dare tell her” (As Ever, pp.
174-175).

CHARACTERS

Berry, Ralph (Rafe) Man who introduces the
Marquis Kinkallow to Fifi Schwartz.

Borowki, Count Stanislas Karl Joseph Pen¬
niless man, posing as a Hungarian count, who is
seeking a wealthy wife. He tries to persuade Fifi
Schwartz to marry him, and he runs away with Miss
Howard.

Capps-Karr, Lady Woman who looks down on
Fifi Schwartz and who inadvertently causes a fire in
the hotel. Based on BlJOU O’CONOR.

Howard, Miss Girl whom the Taylors are plan¬
ning to present at court until she is caught running
away with Count Borowki.

Kinkallow, Marquis (Bopes) Man who, with
Lady Capps-Karr, is thrown out of the hotel for
inadvertently starting a fire. Based on Napier
Alington (1896-1940), a friend of Bijou O’Conor.

Schwartz, Fifi American girl who does not want
to leave Europe. Her behavior is criticized by the
other hotel guests, and Mr. Weicker wrongly sus¬
pects her of starting a fire in the hotel.

Schwartz, John Fifi Schwartz’s 19-year-old
brother, whom she frequently has to retrieve from
a cafe where he drinks with a Russian woman who
claims to be a countess.

Schwartz, Mrs. Mother of Fifi and John Schwartz.

the Taylors Europeanized Americans in the dip¬
lomatic service who look down on Fifi Schwartz
and who decline to present Miss Howard at court
after she is caught running away with Count
Borowki.

Weicker, Mr. Assistant manager of the Hotel des
Trois Mondes who objects to Fifi Schwartz’s pres¬
ence in the hotel bar because she is too young and
because her behavior disturbs the other guests.

“How I Would Sell My Book
If I Were a Bookseller”

Article. Bookseller and Stationer 18 (January 15,
1923), 8; In His Own Time.

Fitzgerald notes that “the vogue of books like
mine depends almost entirely on the stupendous
critical power” of H. L. Mencken and his second¬
hand influence on other reviewers who “show the
liberal tendencies which Mencken has popular¬
ized” (In His Own Time, p. 167). He suggests that
a bookseller “with a real interest in better books”
announce good books as he learns about them from
the publisher and take advance orders from cus¬
tomers (p. 168).

110 "How to Live on Practically Nothing a Year"

“How to Live on Practically
Nothing a Year”

Essay. The SATURDAY EVENING POST 197 (September
20, 1924), 17, 165-166, 169-170; Afternoon of an
Author. Sequel to “How to Live on $36,000 a Year.”

Humorous description of the Fitzgeralds’ attempt
to economize by living on the RlVIERA in the sum¬
mer of 1924.

“How to Live on $36,000
a Year”

Essay. The Saturday Evening Post 196 (April 5,
1924), 22, 94, 97; Afternoon of an Author.

Humorous description of the Fitzgeralds’ finan¬
cial irresponsibility while living in Great Neck,
Long Island, New York, in 1923. Fitzgerald makes
their personal experience representative of the
newly rich who populated that area. This essay
depicts the Fitzgeralds’ perpetual sense of never
knowing where their money went.

“How to Waste Material: A
Note on My Generation”

Essay-review of In Our Time (1925) by Ernest
Hemingway. The Bookman 63 (May 1926), 262-
265; Afternoon of an Author.

Fitzgerald criticizes current trends in American
writing, expressing his concern that material is being
run through too quickly and is being published “raw
and undigested.” He sees hope for the future with
the publication of Hemingway’s In Onr Time, which
he praises for its objectivity and economy.

“Ice Palace, The”

Fiction. Written December 1919. The SATURDAY
Evening Post 192 (May 22, 1920), 18-19, 163,
167, 170; Flappers and Philosophers.

Southern belle Sally Carrol Happer wants to
leave the sleepy Southern town of Tarleton, Geor¬
gia, to “live where things happen on a big scale” (p.
51), where she will not feel that she is wasting her¬
self. On a January trip to visit her Yankee fiance,
Harry Bellamy, she dislikes the cold and feels out
of place. After she nearly freezes to death in an ice
palace at the winter carnival, she returns to the
familiar, warm, and lazy South.

CRITICAL COMMENTARY

Fitzgerald provides an account of writing “The
Ice Palace” in “Contemporary Writers and Their
Work.” The story grew out of conversations with
two girls—one northern, one southern. A conver¬
sation with a girl from St. Paul about snow and
winter recalled to him the Minnesota winters he
had known, “their bleakness and dreariness and
seemingly infinite length” (F. Scott Fitzgerald on
Authorship, p. 36). While he was visiting Zelda
Sayre [Fitzgerald] in Montgomery after the
acceptance of This Side of Paradise for publication,
he told her he could understand her feelings about
the Confederate graves so well that he could write
about it. The next day, he said, “It came to me that
it was all one story” (F. Scott Fitzgerald on Author-
ship, p. 36).

In “Early Success,” Fitzgerald uses “The Ice Pal¬
ace” as an example of his transition from amateur
to professional writer. Telling of the story’s genesis

Illustration for "The Ice Palace," The Saturday Evening
Post (May 22, 1920). (Bruccoli Collection of F. Scott
Fitzgerald, University of South Carolina)

'Ice Palace,The" 111

in walking through a southern cemetery with Zelda,
he notes, “my enchantment with certain things that
she felt and said was already paced by my anxiety to
set them down in a story” (The Crack-Up, p. 86).

“The Ice Palace” is the first in a trilogy of stories
about Tarleton in which Fitzgerald explored the
differences between North and South. “The Jelly-
Bean” and “The Last of the Belles” complete the
trilogy.

Written in six sections, “The Ice Palace”
employs a circular structure, beginning and end¬
ing in Tarleton with Sally Carrol lazily leaning
on the windowsill in a blaze of golden sunlight.
Section 1—which is full of images of slowness,
patience, sleepiness, inertia, languor, dozing, lazi¬
ness, idleness, and coma—introduces the North-
South conflict when Clark Darrow protests that
Sally Carrol could not marry a Yankee because
“he’d be a lot different from us, every way” (p.
50). Sally Carrol responds by identifying a dichot¬
omy in her nature. Her “sleepy old side” loves the
South, the southern boys, and the “living in the
past” they represent, but another side has “a sort
of energy” that makes her feel “restless” at the
thought of being “tied down” there (p. 51) ... yet
she dozes off immediately, undermining the force
of her declaration. In Section 2, Sally Carrol takes
her “brisk” northern fiance, Harry Bellamy, stroll¬
ing through the cemetery and tries to explain to
him the beauty of “that old time that I’ve tried to
have live in me” (p. 53). She agrees to a January
visit up north and a March wedding, but warns
Harry, “I guess I’m a summer child. I don’t like
any cold I’ve ever seen” (p. 54).

Section 3 takes Sally Carrol to the North, where
she experiences “a surging rush of energy” from
“the bracing air.” She reflects, “This was the North
... her land now!” (p. 55). Yet despite the attrac¬
tive “pep in the air” (p. 56) that Harry embraces,
Sally Carrol senses the bleakness and loneliness
of the solitary farmhouses, the northern women’s
lack of charm, and the newness and lack of tradi¬
tion and family heritage that contrast strongly with
the South. The snow makes her shiver, not merely
from the cold, but also from the sense that “some¬
thin’ dead was movin’” (p. 59). She tells Harry,
“Where you are is home for me,” yet she accurately

identifies that she “was acting a part” (p. 57). She
and Professor Roger Patton discuss the depressing
“Ibsenesque” nature of the local Swedish popula¬
tion. Sally Carrol expresses her confidence that
Harry will take care of her, but she trembles at his
icy kiss. In Section 4 they argue over his unflatter¬
ing characterization of Southerners, and Sally Car¬
rol senses “something stronger and more enduring”
(p. 63) than the day’s emotions when the orchestra
plays “Dixie” that night.

Section 5, which provides the climax of the
story, is full of images of death. The “tombing heaps
of sleet” (p. 64) make Sally Carrol shiver at the
thought of snow on her grave, in contrast to the
welcoming familiarity of the southern cemetery that
she loves. The ice palace itself is magnificent and
seems to her like “the North offering sacrifice on
some mighty altar to the gray pagan God of Snow”
(p. 66). When she and Harry are separated in the
ice palace, its pathways seem “like a damp vault
connecting empty tombs” (p. 67). She imagines
freezing to death and sees an apparition of Margery
Lee, a Civil War-era woman buried back home.

Her Southern friends, Sally Carrol realizes,
would understand that she should not be left there
in the frozen North, that she will never truly be
“home” there. “She was a happy little girl. She
liked warmth and summer and Dixie” (p. 68).
When the search party rescues her, she returns
to her southern home. The phrasing of Section 6
reflects and repeats the phrasing of the opening
paragraphs of the story, contrasting “the wealth of
golden sunlight” with the “pale-yellow sun” of the
North. Sally Carrol rests “lazily” in her windowsill
again, but she is where she belongs (p. 69).

CHARACTERS AND PLACE
Bellamy, Gordon Harry Bellamy’s brother.

Bellamy, Harry Sally Carrol Happer’s Yankee
fiance.

Bellamy, Mr. Harry Bellamy’s father, whom Sally
Carrol Happer likes.

Bellamy, Mrs. Harry Bellamy’s mother, whom
Sally Carrol Happer dislikes.

112 '"I Didn't Get Over'"

Bellamy, Myra Gordon Bellamy’s spiritless, half-
Swedish wife.

Darrow, Clark Georgia Tech graduate from
Tarleton, Georgia, who drives an ancient Ford
and spends his time loafing and discussing how to
invest his small capital. He takes Sally Carrol Hap-
per swimming. This character also appears in “The
Jelly-Bean.”

Ewing, Joe Young man who goes swimming with
Clark Darrow, Sally Carrol Happer, and Mary-
lyn Wade. This character also appears in “The
Jelly-Bean.”

Happer, Sally Carrol Girl from Tarleton,
Georgia, who travels North to visit her fiance,
Harry Bellamy, but returns to the South after
being trapped in an ice palace. This character also
appears in “The Jelly-Bean” and “The Last of the
Belles.”

Hubbard, Spud An athletic young man at the
dinner party which Sally Carrol Happer attends on
the first night of her visit to the North.

Lee, Margery Young woman buried in the Tar¬
leton, Georgia, graveyard whom Sally Carrol Hap¬
per imagines comes to comfort her while she is
trapped in the ice palace.

Morton, Junie An athletic young man at the
dinner party that Sally Carrol Happer attends on
the first night of her visit to the North.

Patton, Roger University professor who befriends
Sally Carrol Happer during her visit to the North.

Tarleton, Georgia Fictional Southern city, loosely
based on Montgomery, Alabama; the setting of “The
Ice Palace” (May 1920), “The Jelly-Bean” (October
1920), and “The Last of the Belles” (March 1929). “A
little city of forty thousand that has dozed sleepily for
forty thousand years in southern Georgia, occasion¬
ally stirring in its slumbers and muttering something

about a war that took place sometime, somewhere,
and that everyone else has forgotten long ago” (The
Short Stories ofF. Scott Fitzgerald, p. 143).

Wade, Marylyn Girl who goes swimming with
Clark Darrow, Sally Carrol Happer, and Joe Ewing.
This character also appears in “The Jelly-Bean.”

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

Fitzgerald, F. Scott. “Contemporary Writers and Their
Work, A Series of Autobiographical Letters—F.
Scott Fitzgerald,” Editor 53 (Second July Number,
1920), 121-122; reprinted in F. Scott Fitzgerald on
Authorship.

Holman, C. Hugh. “F’s Changes on the Southern
Belle: The Tarleton Trilogy.” In The Short Stories
of E Scott Fitzgerald: New Approaches in Criticism,
edited by Jackson R. Bryer (Madison: University of
Wisconsin Press, 1982), 53-64.

‘“I Didn’t Get Over’”

Fiction. Written August 1936. Esquire 6 (October
1936), 45, 194-195; Afternoon of an Author.

At their 20th college reunion, several members
of the Class of 1916 are discussing World War I
when they are joined by Hibbing, who “didn’t get
over.” He tells them about Abe Danzer, who had
been a class hero but who had become a drunkard
and ended up in Leavenworth, where he was shot
trying to escape. Danzer had turned to drink after
the sinking of a ferry and the drowning of some
men under his command in Georgia. Hibbing, who
identifies himself as “Captain Brown” during the
initial telling of the story, had been responsible for
the incident but had blamed Danzer.

The ferry incident was based on the sinking of a
ferry in the Talapoosa River near Camp Sheridan
in Alabama; Fitzgerald saved several lives during
the accident.

'Image on the Heart" 113

CHARACTERS

Boone, Joe One of three classmates to whom
Hibbing tells the story of Abe Danzer.

Danzer, Abe Officer who turned to drink after
he was wrongly blamed for an accident in Georgia
in which some men under his command drowned.

Hibbing Former officer who is self-conscious about
not having gotten to EUROPE during World War I.
He tells his classmates at a college reunion about the
sinking of a ferry and its effect on Abe Danzer and
later reveals to the narrator that he was the “Captain
Brown” who was responsible for the incident.

narrator (unnamed) Classmate to whom Bib¬
bing reveals that he was the “Captain Brown” who
had been responsible for the sinking of the ferry in
the story he had told earlier.

Tomlinson, Tommy One of three classmates to
whom Hibbing tells the story of Abe Danzer.

“I Got Shoes”

Fiction. Written July 1933. The Saturday Evening
Post 206 (September 23, 1933), 14-15, 56, 58;
The Price Was High.

Johanna Battles, a former debutante who works
for a newspaper, interviews actress Nell Margery,
whom she asks about the rumor that she collects
shoes. The actress tells how at age 10 she had
worn out the soles of her shoes and injured her
feet while accompanying her mother on a job inter¬
view. When the child outgrew her next pair of
new shoes, she had refused to discard them, and
ever since then she had kept all of her old shoes.
After discussing discipline and duty as part of pro¬
fessionalism, Miss Margery dismisses Johanna and
talks with Warren Livingstone, who wants to marry
her but with whom she is dissatisfied because he
plays rather than working and earning money. Liv¬
ingstone leaves in disgust but telephones from the
hotel lobby to say that he can never love another

woman. Miss Margery tells him to come back up,
and she informs her maid, Jaccy, that she can
have her old shoes because she is not saving them
anymore.

CHARACTERS

Battles, Johanna Former debutante who writes for
a newspaper and interviews actress Nell Margery.

Fay, Teeny Johanna Battles’s friend whom she
encounters on her way to interview Nell Margery;
they discuss Miss Margery’s shoe collection.

Jaccy Nell Margery’s maid, to whom she gives
her old shoes when she decides to relinquish
them.

Livingstone, Warren Society man who wants to
marry Nell Margery.

Margery, Nell Actress who is unwilling to part
with any of her old shoes.

“Image on the Heart”

Fiction. Written September 1935. McCall’s, 63
(April 1936), 7-9, 52, 54, 57-58, 62; The Price Was
High.

When Tudy’s husband drowns a week after
their wedding, Tom, an old family friend, lends her
the money to study in France for a year. As they
grow closer through their correspondence, she
accepts his proposal of marriage, and he travels to
Provence for their wedding. When he arrives, how¬
ever, he discovers that she has become interested
in naval aviator Lieutenant de Marine Riccard,
who is almost Tom’s double. While waiting for
his mother to arrive for the wedding, Tom sends
Tudy to Paris to shop to get her away from Ric¬
card. When she returns for their wedding, he finds
out that Riccard flew to Paris to meet her at the
station and to ride back with her. Tudy protests
her innocence; and Tom decides to go ahead and
marry her, even though he can never be sure what
really happened.

114 "Imagination—and a Few Mothers'

Fitzgerald’s working titles for this story were “Fin¬
ishing School” and “A Course in Languages.” The
story was based on the crisis in the Fitzgeralds’ mar¬
riage that was brought on by Zelda Fitzgerald’s
involvement with French naval aviator EDOUARD
JOZAN.

CHARACTERS

Mother Tom’s mother, who suggests that Tudy
may need a little firmness after she marries Tom.

Riccard, Lieutenant de Marine Based on Edouard
Jozan. Naval aviator in whom Tudy becomes inter¬
ested a week before her fiance, Tom, is to arrive for
their wedding.

Tom Old family friend who rescues Tudy from
poverty after the death of her first husband and
marries her after sending her to school for a year.

Tudy Nineteen-year-old girl whose first husband
dies a week after their wedding and who later mar¬
ries Tom.

“Imagination—and a Few
Mothers”

Essay. The Ladies’ Home Journal 40 (June 1923),
21, 80-81.

Fitzgerald describes the “average home” as “a
horribly dull place” (Ladies’ Home Journal Treasury
[New York: Simon &. Schuster, 1956], p. 121).
He contrasts a nervous, depressing mother who
imagines worrisome things about her children and
husband with a charming woman who makes her
home happy by enjoying life herself and treating
her children as people.

“Indecision”

Fiction. Written January-February 1931. The SAT¬
URDAY EVENING POST 203 (May 16, 1931), 12-13,
56, 59, 62; The Price Was High.

Twenty-seven-year-old banker Tommy McLane
visits SWITZERLAND in hopes of falling in love. He is
attracted to both Emily Elliot, a 25-year-old divor¬
cee, and Rosemary Merriweather, an 18-year-old
southerner; when he is with one of them, he thinks
about the other. He is unable to choose between
them until his jealousy of Rosemary’s attention to
Count de Caros Moros swings the balance in her
favor. He is suddenly called back to his job and
is unable to locate Rosemary before he leaves the
hotel, but he finds her on the same train that he is
taking and asks her to marry him, despite his final
thoughts of Emily.

Fitzgerald borrowed material from this story for
Dick and Nicole Diver’s Christmas trip to GSTAAD
in Tender Is the Night.

CHARACTERS

Cola, Mr. ("Capone") Guest at the same hotel
as Tommy McLane. He travels with a “harem” of his
wife, daughters, and four other women, all of whom
he has psychoanalyzed for constantly complaining.

de Caros Moros, Count Young Greek whose
attentions to Rosemary Merriweather make Tommy
McLane jealous.

Elliot, Emily Twenty-five-year-old divorcee. One of
two women in whom Tommy McLane is interested.

Forrester, Frank Emily Elliot’s cousin, who tells
Tommy McLane that Emily thinks her ex-husband
is spying on her.

"ickle durls" (unnamed) Two California girls on
vacation from their school in Montreux, SWITZER¬
LAND, who convey messages about Rosemary Merri¬
weather to Tommy McLane. In TITN Nicole Diver
contemptuously refers to the American schoolgirls
in Gstaad as “ickle durls.”

McLane, Tommy Twenty-seven-year-old banker
who goes to Switzerland to fall in love. He is unable
to choose between Emily Elliot and Rosemary Mer¬
riweather until his jealousy of Rosemary’s attention
to another man leads him to propose to her.

"Inside the House" 115

Merriweather, Rosemary Eighteen-year-old
southerner whom Tommy McLane asks to marry
him.

Whitby, Harry A Cambridge University hockey
player who is a guest at the same hotel as Tommy
McLane.

“Infidelity”

Screenplay. ESQUIRE 80 (December 1973), 193—
200, 290-304.

In early 1938 Metro-Goldwyn-Mayer assigned
Fitzgerald to HUNT STROMBERG’s production unit
to work alone on a movie for Joan Crawford (1904-
77), whose movies he studied in order to tailor the
role to her acting abilities (see Fitzgerald to Gerald
Murphy, March 1938; Letters, pp. 427-428). MGM
had acquired rights to “Infidelity,” a short story
by Ursula Parrott (1902-81), but Fitzgerald was to
write virtually an original story. He worked from
February to May on a 104-page screenplay about
wealthy Nicolas and Althea Gilbert. Althea discov¬
ers that Nicolas has had a one-night affair with
a former sweetheart, and she develops a platonic
relationship with a former suitor. The project was
abandoned because the subject of marital infidelity
was taboo in HOLLYWOOD in 1938. (See Fitzgerald
to Stromberg, February 22, 1938; life in Letters, pp.
348-349).

“In Literary New York”

Letter to Bernard Vaughan. St. Paul Daily News,
December 23, 1923, section 2, p. 5; In His Own
Time.

Fitzgerald notes that “the real event of the year
will, of course, be the appearance in January of
the American Mercury,” edited by H. L. Mencken
and George Jean Nathan (In His Own Time, pp.
169-170).

“Inside the House”

Fiction—Gwen Bowers story. Written April 1936.
The Saturday Evening Post 208 (June 13, 1936),
18-19, 32, 34, 36; The Price Was High.

Fourteen-year-old Gwen begs her father, Bryan
Bowers, to let her go to a movie with Jason Craw¬
ford, but he refuses to let her date. When lawyer
Edward Harrison comes to dinner, he reveals that
Gwen’s idol, actress Peppy Velance, is a client
of his. Harrison falls ill and is forced to stay with
the Bowerses for several days; he tells Gwen that
she looks like her mother, with whom he appar¬
ently was in love. Gwen sneaks away to a Peppy
Velance movie with Jason. Just before the feature
begins, the theater roof caves in from the weight
of snow, but everyone escapes unharmed. When
Gwen returns home, her father informs her that
the visitor whom she had encountered on her way
out and whom she had thought was a nurse for
Mr. Harrison was really Peppy Velance, who had
come to see her. After Gwen goes to bed disap¬
pointed, her father leaves her a note saying that
Harrison and Velance will be there for dinner the
next night.

CHARACTERS AND PLACE
Bennett, Jim Boy who is helping Gwen Bowers
decorate her Christmas tree.

Bowers, Bryan Widower who is raising his teen-
aged daughter, Gwen Bowers. He refuses to let
Gwen go on a movie date with Jason Crawford. This
character also appears in “Too Cute for Words.”

Bowers, Gwen Character based on SCOTTIE
Fitzgerald. In “Too Cute for Words,” she sneaks
into the Princeton prom. In “Inside the House,”
she sneaks out to a movie with Jason Crawford.

116 "Institutional Humanitarianism'

inconsistencies requiring revision in “The Pearl and
the Fur” (April 25, 1936; As Ever, pp. 265-267).
Fitzgerald changed the names of the characters and
sold the two rejected stories to Pictorial Review,
which went out of business without publishing
them. “Make Yourself at Home” was resold to Lib¬
erty, which published it as “Strange Sanctuary” in
1939.

Brown, Satterly Boy who is helping Gwen Bow¬
ers decorate her Christmas tree.

Crawford, Jason Boy with whom Gwen Bowers
sneaks out to a movie.

Harrison, Edward Lawyer who falls ill while vis¬
iting Bryan Bowers and who brings actress Peppy
Velance to meet Gwen Bowers.

St. Regis Fictional prep school in This Side of
Paradise, “The Family Bus,” “Inside the House,”
“The Swimmers,” “The Freshest Boy” and “The
Perfect Life”; based on the Newman SCHOOL. In
“The Family Bus,” St. Regis is described as “Amer¬
ica’s most expensive school” (The Price Was High,
p. 497).

Velance, Peppy Actress whom Gwen Bowers
idolizes and whom she misses the opportunity to
meet by sneaking out to a movie.

“Institutional

Humanitarianism”

Unfinished play. Fitzgerald’s August 21, 1937,
contract with MGM allowed him to “complete
the writing of that certain play tentatively entitled
‘Institutional Humanitarianism,’ heretofore com¬
menced” (Princeton University Library). On
December 7 Fitzgerald told Edwin Knopf that he
would have to rewrite the play, which had a prison
background, because of its similarity to recent gang¬
ster films ( Correspondence, p. 485). However, the
only surviving material for the play is a notebook

at Princeton University Library which contains a
table of contents, a few notes, and a brief outline.

See Alan Margolies, “F. Scott Fitzgerald’s Prison
Play,” Papers of the Bibliographical Society of America
66 (First Quarter 1972), 61-64.

“Interview with F. Scott
Fitzgerald, An”

Saturday Review 43 (November 5, 1960), 26, 56; in
In His Own Time as “Self-Interview.”

Self-interview which Fitzgerald wrote in 1920
to publicize This Side of Paradise. Although the Sat¬
urday Review stated that the piece had not been
used in 1920, it had partly appeared in Heywood
Broun’s “Books” (New York Tribune, May 7, 1920,
p. 14) as quotes from an interview with Fitzgerald
by Carleton R. Davis. The first two paragraphs of
Fitzgerald’s 1920 “Author’s Apology” appeared in
the self-interview in a slightly different form. In The
Beautiful and Damned, Anthony Patch attributes
the pronouncement about “the wise writer writing
for the youth of his own generation, the critic of
the next, and the schoolmaster of ever afterward”
to an interview given by Dick Caramel after his
early success as a novelist (B&D, p. 189).

“In the Darkest Hour”

Fiction—first Philippe story. Written April 1934.
Redbook 63 (October 1934), 15-19, 94-98; The
Price Was High.

Philippe, Count of Villefranche, had been car¬
ried to Spain as an infant with his mother by the
Vizier who had killed his father. Philippe, now age
20, returns to his native France in A.D. 872 to
find the country ravaged by invading Vikings. He
gathers several villagers at the home of Le Poire,
the leader of the community, and reveals his claim
to the land in that area, pledging to protect the
people from foreign invaders in return for their ser¬
vice. When he discovers a Viking encampment,

'In the Holidays" 117

he enlists the aid of some monks and workmen
and sends Jacques, who had warned him of a plot
against his life, to persuade Le Poire to gather other
fighters; the two groups successfully attack the
Vikings. The Viking leader, Robert the Frog, is
killed in battle, and Philippe orders the execution
of Robert’s son, Goldgreaves, so that there will be
no opposition to his leadership.

CHARACTERS

the Abbot Religious leader who resists Philippe’s
urging to fight against the Viking invaders. This
character also appears in “The Kingdom in the
Dark.”

Brother Brian Irish-born friar who joins Philippe
to fight the Viking invaders. This character also
appears in “The Count of Darkness” and “The
Kingdom in the Dark.”

Count Charles Philippe’s deceased father, who
was killed by a Spanish Vizier. See also Bertram de
Villefranche in “The Kingdom in the Dark.”

girl (unnamed) Robert the Frog’s consort, who
comes to Philippe after Robert’s death. See also Let-
garde in “The Count of Darkness.”

Goldgreaves Robert the Frog’s son, whose exe¬
cution Philippe orders to avoid any threat to his
own leadership.

Jacques (Jaques) Peasant who warns Philippe of
a plot against his life. Philippe commissions him to
enlist Le Poire, a leader of the community, against
the Vikings. This character also appears in “The
Count of Darkness,” “The Kingdom in the Dark,”
and “Gods of Darkness.”

Le Poire Villefranche community leader who
resents the return of Philippe and who is killed in
battle with the Vikings.

Philippe See entry for this character under “The
Castle.”

Robert the Frog Viking leader who is slain in
battle with Philippe.

Viking (unnamed) Norwegian young man whom
Philippe encounters when he returns to France and
with whom he shares a meal.

Vizier Philippe’s Spanish stepfather, who killed
his father, Count Charles.

“In the Holidays”

Fiction. Written February 1937. Esquire 8 (Decem¬
ber 1937), 82, 184, 186; The Price Was High.

On New Year’s Eve, hospital patient Mr. Mc¬
Kenna, a murderer, briefly leaves the hospital
to get a drink. He tears up the letter that nurse
Miss Hunter has asked him to mail to her fiance.
At about midnight, Mr. Griffin, a fellow patient
in the hospital and a witness against McKenna,
is murdered by McKenna’s accomplices. The next
day Miss Hunter’s fiance, a detective posing as a
resident doctor, has McKenna’s fingerprints, taken
from the scraps of the envelope, checked; this con¬
firms that he is criminal Joe Kinney.

CHARACTERS

Collins, Miss Nurse at whom patient Mr. Mc¬
Kenna makes a pass.

Fiance of Miss Hunter (unnamed) Detective
who poses as a resident doctor and who discovers
Mr. McKenna’s criminal identity by checking his
fingerprints.

Griffin, Mr. Man whose murder is arranged by
Mr. McKenna.

Hunter, Miss Nurse who asks Mr. McKenna to
mail a letter for her.

Kamp, Doctor Physician who inadvertently
reveals to Mr. McKenna that Mr. Griffin is in the
same hospital.

McKenna, Mr. Alias of murderer Joe Kinney,
who arranges the death of witness Mr. Griffin while
they are both in the hospital.

118 "Intimate Strangers, The"

“Intimate Strangers, The”

Fiction. Written February-March 1935. McCall’s
62 (June 1935), 12-14, 36, 38, 40, 42, 44; The Price
Was High.

Twenty-one-year-old Sara runs away to North
Carolina for a week with Cedric Killian, who shares
her love of music, before returning to France with
her children and husband, Eduard de la Guillet
de la Guimpe. During World War I, while Eduard
is paralyzed from a wound, she encounters Killian
again and sees him off to war. Eight years after the
war and a year after Eduard’s death, Killian calls
her while drunk in the middle of the night, and she
goes to his hotel suite. Her brother-in-law and sis-
ter-in-law, Comte Paul and Noel de la Guillet de la
Guimpe, try to persuade her to give up Killian, but
she runs away to marry him. She worries about his
two unexplained absences, but when she finds him
at the grave of his first wife, Dorothy, and learns
that he had been in love with Dorothy when they
had met briefly during the war, she begins to under¬
stand their differences and loves him more.

“The Intimate Strangers” is loosely based on the
relationship of Nora and Lefty Flynn, friends of
Fitzgerald in TRYON, North Carolina.

CHARACTERS

Abby Friend to whom Sara reveals her concern
about her second husband Killian’s unexplained
absences.

Bisby, Mrs. Caxton Sara’s oldest sister, who is
concerned over Sara’s temporary disappearance
with Cedric Killian.

Burne-Dennison, Martha Sara’s sister, who comes
from London both times that Sara becomes involved
with Cedric Killian.

de la Guillet de la Guimpe, Marquis Edu¬
ard Sara’s husband, whom she leaves briefly for
Killian.

de la Guillet de la Guimpe, Henri Son of Edu¬
ard and Sara de la Guillet de la Guimpe.

de la Guillet de la Guimpe, Miette Daughter
of Eduard and Sara de la Guillet de la Guimpe.

de la Guillet de la Guimpe, Noel Sara’s sister-
in-law, who tries to dissuade her from reuniting
with Killian after the death of Sara’s husband, Edu¬
ard de la Guillet de la Guimpe.

de la Guillet de la Guimpe, Comte Paul Ed¬
uard de la Guillet de la Guimpe’s brother, who
resents Sara’s reunion with Killian because of the
disgrace her actions bring on his brother’s name.

Killian, Cedric Man with whom Sara falls in love
and whom she marries after the death of her first
husband, Eduard de la Guillet de la Guimpe.

Killian, Dorothy Cedric Killian’s first wife,
whom his second wife, Sara, never realizes he had
really loved until she finds him at Dorothy’s grave.

Margot Nurse who cares for Sara’s young son
and who later marries Paul Pechard.

Pechard, Paul Man who marries Margot and
whom Sara had nursed during the war.

Sara (Marquise de la Guillet de la Guimpe;
Mrs. Cedric Killian) Woman who has an affair
with Cedric Killian, whom she marries after the
death of her first husband, the Marquis de la Guil¬
let de la Guimpe.

“Jacob’s Ladder”

Fiction. Written June 1927. The SATURDAY EVE¬
NING Post 200 (August 20, 1927), 3-5, 57-58,
63-64; Bits of Paradise.

Wealthy, cultivated, 33-year-old Jacob Booth
meets 16-year-old shopgirl Jenny Delehanty after
the trial of her sister, Mrs. Choynski, for mur¬
der. He suggests that she change her name to
Jenny Prince and introduces her to director Billy
Farrelly, who hires her, for one of three leading

'Jacob's Ladder" 119

Illustration for "Jacob's Ladder," The Saturday Evening Post (August 20, 1927), one of the stories Fitzgerald mined for
Tender is the Night. (Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina)

roles in his movie. She is then offered a two-year
contract that requires her to leave New York for
HOLLYWOOD. She weeps at parting with Jacob,
who is in love with her, but she is excited about
her prospects. Six months later Jacob visits her
in California and perceives that she is no longer
a child. He resents the attention that Raffino,
a Latin actor, pays to Jenny. Jacob declares his
love for her, but she says she does not love him
the same way, and he dreams of the image he has
created of her. Before he returns to New York, he
thwarts Choynski’s attempt to blackmail Jenny.
When Jenny comes to see him several months
later, he urges her to marry him, but she tells him
she is in love and plans to marry the director of
her most recent picture. When she leaves, he goes

to the theater to watch her latest movie, where he
can recapture his image of her.

CRITICAL COMMENTARY

“Jacob’s Ladder” has important connections with
Tender Is the Night. The story marks the beginning
of the “new angle” that Fitzgerald was exploring in
the second major version of the novel, focusing on
the relationship between movie director Lew Kelly
and a young actress named Rosemary who hopes
that Kelly will help her start her movie career.

In early draffs of TITN, Rosemary Hoyt was
named Jenny Prince, and both characters are based
on actress Lois MORAN, in whom Fitzgerald was
interested. Dick Diver’s affair with Rosemary in
Chapter 20 of TITN draws heavily on “Jacob’s

120 "Jacob's Ladder'

Ladder,” and Fitzgerald revised and recycled pas¬
sages from the story for the novel, such as the com¬
ment about Jenny/Rosemary having sex appeal
in the rushes for the first time. Because Fitzger¬
ald “stripped” the story for the novel, he did not
include it in Taps at Reveille.

The first paragraph signals the story’s emphasis
on appearance and acting: The newspapers “made
a cheap, neat problem play” out of a murder trial,
providing the spectators with “excitement . ..
eagerness . . . breathless escape from their own
private lives” (p. 350).

Jenny is a blend of naivete and conscious acting
of a role. Jacob first perceives her as “a dark saint”
(p. 351) and “an intense little Madonna” (p. 352),
and he feels worn contrasted with her freshness.
Yet, almost immediately, he senses her acting abil¬
ity, noting that everything she does—every gesture
and even every attitude—is “on the grand scale”
(p. 354). As he takes her home from dinner, she
“let herself become grave and sweet and quiet” (p.
354). When she is offered a two-year contract in
Hollywood, she credits him with her success, yet as
she cries in gratitude for his friendship, he sees that
she is “acting now” (p. 359).

When he visits her in Hollywood, Jacob senses
that she has grown up and has become professional,
and a party acquaintance informs him that she is
“the wisest one of the lot” (p. 362). By the time
she returns to New York to visit him, people rec¬
ognize her and fawn over her. “A communicative
joy flowed from her and around her, as though her
perfumer had managed to imprison ecstasy in a
bottle” (p. 368).

Jenny’s rise is contrasted with Jacob’s decline.
His own aspirations for a singing career have been
cut short by laryngitis, and he has become apa¬
thetic. When he helps Jenny begin her career,
he becomes exultant, “living more deeply in her
youth and future than he had lived in himself for
years” (p. 357). When she leaves New York for
Hollywood, he visits a doctor to see if his vocal
cords have improved and learns that they have not,
which creates a sense of loss.

Without Jenny, Jacob’s life seems empty; he
sits in his apartment, listening to music and read¬
ing her letters and articles about her. He briefly

becomes engaged to an old friend but soon breaks
it off and heads to California to see Jenny. Both of
them have changed, and she, not he, is in control
of their plans and their schedule now. When he
declares his love for her, she seems uninterested,
and they become “like different people” (p. 363).
Jenny senses that Jacob’s mood overpowers his old
“consideration and understanding” (p. 364). She
offers to marry him even though she does not love
him “like that” (p. 364); that night her beauty
haunts his room, and he re-creates her into a new
image in his mind. He refuses to marry her unless
she loves him, and he senses that she has become
“elusive” (p. 365).

Back East, Jacob goes about his “useless life” (p.
367), reading her letters and watching her latest
movie. When she visits him to say that she is in
love and planning to marry someone else, he real¬
izes that he has lost her. Bewildered, he walks down
Broadway and sees her name above a theater. The
name seems to invite, “Come and rest upon my
loveliness. .. . Fulfill your secret dreams in wedding
me for an hour” (p. 370). Jacob buys a ticket and
enters the theater with the crowd to experience
Jenny’s image—which is all he has ever really had
of her.

Jacob’s profound sense of loss, loneliness, and
professional regret reflects Fitzgerald’s own situa¬
tion at the time he wrote the story.

CHARACTERS

Booth, Jacob Wealthy man whose singing career
has been cut short by laryngitis and who helps Jenny
Delehanty, with whom he falls in love, become an
actress.

Choynski, Mrs. Woman convicted of murder.
Jenny Delehanty did not know she was her sister
until the trial.

Delehanty, Jenny Shopgirl who becomes an act¬
ress with the help of Jacob Booth. She takes the
name of Jenny Prince when she begins her acting
career. Based on actress Lois Moran.

Farrelly, Billy Movie director who gives Jenny
Prince [Delehanty] her first role.

'Jelly-Bean, The" 121

Raffino Latin actor whose attentions to Jenny
Prince [Delehanty] are resented by Jacob Booth.

Scharnhorst Mrs. Choynski’s lawyer, whose
attempt to blackmail her sister, Jenny Delehanty,
after Jenny has become a successful actress is
thwarted by Jacob Booth.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

Anderson, George. “F. Scott Fitzgerald, Emile Zola,
and the Stripping of ‘Jacob’s Ladder’ for TITN.”
In The Professions of Authorship: Essays in Honor
of Matthew J. Bruccoli, edited with an introduction
by Richard Layman and Joel Myerson (Colum¬
bia: University of South Carolina Press, 1996),
169-183.

Margolies, Alan. “Climbing ‘Jacob’s Ladder.’” In New
Essays on F. Scott Fitzgerald’s Neglected Stories,
edited by Jackson R. Bryer (Columbia: University
of Missouri Press, 1996), 89-103.

“Jelly-Bean, The”

Fiction. Written May 1920. Metropolitan Maga¬
zine 52 (October 1920), 15-16, 63-67; Tales of the
Jazz Age.

Idler Jim Powell, whose family’s financial and
social status has deteriorated through the genera¬
tions, reluctantly accompanies Clark Darrow to
a country club dance in Tarleton, Georgia. He is
enchanted by Nancy Lamar, who kisses him after
he helps her win back the money she has lost
shooting craps. His new love for Nancy inspires
him to make something of himself, and he plans
to go to work on his Uncle Dun’s farm. How¬
ever, the day after the dance, he hears that Nancy
got drunk and married Ogden Merritt, her date
from Savannah, and he returns to loafing at the
pool-hall.

Fitzgerald described this as “the first story to
really recreate the modem southern belle” (to

Harold Ober, received February 2, 1928; As
Ever, p. 109).

CHARACTERS AND PLACE
Aunt Mamie Jim Powell’s aunt, who runs a
boardinghouse in his family home and is later in a
sanitarium.

Darrow, Clark Georgia Tech graduate from Tar¬
leton, Georgia, who drives an ancient Ford and
spends his time loafing and discussing how to invest
his small capital. He invites Jim Powell to a dance
at the country club. This character also appears in
“The Ice Palace.”

Ewing, Joe Young man who attends the coun¬
try club dance with Marylyn Wade. This character
also appears in “The Ice Palace.”

Haight, Marjorie Girl who, at a children’s party,
tactlessly mentions that Jim Powell sometimes
delivers groceries.

Hopper, Sally Carrol Nancy Lamar’s insepara¬
ble friend. This character also appears in “The Ice
Palace” and “The Last of the Belles.”

Lamar, Doctor Nancy Lamar’s father, who is
distressed by her sudden marriage.

Lamar, Nancy A beautiful, popular girl who is
proud of being wild and hard. Like many of Fitzger¬
ald’s female characters, she is daring and charm¬
ing but harmful to the men who love her. In “The
Jelly-Bean,” she says that her model is Lady Diana
Manners (1892-1986), a famous English beauty
and eccentric who starred in a pageant entitled The
Miracle and was married to politician Duff Cooper
(1890-1954). Nancy shoots craps, flirts with Jim
Powell, and marries Ogden Merritt while drunk. This
character also appears in “The Last of the Belles.”

Merritt, Ogden Savannah man whom Nancy
Lamar marries while drunk.

Powell, Jim An idler and accomplished crap-
shooter who is briefly inspired to reform by his

122 "Jemina A Story of the Blue Ridge Mountains By John Phlox, Jr."

love for Nancy Lamar. Apparently not the same
character as Jim Powell in “Dice, Brass Knuck¬
les & Guitar”; they are both from Tarleton,
Georgia, and have the same name but different
personalities.

Tarleton, Georgia Fictional southern city, loosely
based on MONTGOMERY, Alabama; the setting of
“The Ice Palace” (May 1920), “The Jelly-Bean”
(October 1920), and “The Last of the Belles”
(March 1929). “A little city of forty thousand that
has dozed sleepily for forty thousand years in south¬
ern Georgia, occasionally stirring in its slumbers and
muttering something about a war that took place
sometime, somewhere, and that everyone else has
forgotten long ago” (The Short Stories of F. Scott
Fitzgerald, p. 143).

Taylor, Mr. Man who shoots craps with Nancy
Lamar.

Uncle Dun Jim Powell’s uncle, who wants Jim to
come work at his farm.

Wade, Marylyn Girl who attends a country club
dance with Joe Ewing. This character also appears
in “The Ice Palace.”

“Jemina A Story of the
Blue Ridge Mountains
By John Phlox, Jr.”

Prose parody. The Nassau Literary Magazine 72
(December 1916), 210-215 (unsigned). Reprinted
as “Jemina, the Mountain Girl (One of Those
Family Feud Stories of the Blue Ridge Mountains
with Apologies to Stephen Leacock),” Vanity Fair
15 (January 1921), 44; in Tales of the Jazz Age as
“Jemina the Mountain Girl.”

The Tantrums and the Doldrums are involved
in a feud that started 50 years ago over a card
game. When gold is discovered on the Tantrums’
land, a stranger named Edgar Edison tries to buy it.
While he is in the Tantrum cabin, the Doldrums

attack and set the cabin on fire. Jemina Tantrum
and Edison die in one another’s arms.

John Fox, Jr. (1862-1919), of Kentucky wrote
highly popular sentimental novels about southern
mountaineers. Stephen Leacock (1869-1944), an
English-born Canadian author, was a political econ¬
omist and humorist.

CHARACTERS

Doldrum, Boscoe Son of the family feuding with
the Tantrums. He works a still on the opposite side
of the stream from Jemina Tantrum.

Edison, Edgar Stranger who wants to buy the
Tantrums’ land.

Tantrum, Jemina Teenaged girl who supports
her parents by brewing whiskey and who dies in a
fire caused by the feud with the Doldrums.

“John Jackson’s Arcady”

Fiction. Written April 1924. The SATURDAY EVE¬
NING POST 197 (July 26, 1924), 8-9, 100, 102,
105; The Price Was High. See also John Jackson’s
Arcady.

John Jackson, who has agreed to speak to the
Civic Welfare League on “What Have I Got Out
of Life,” concludes privately that he has gotten
nothing from life. His unhappiness is intensified by
the dismissal of his son, Ellery Hamil Jackson, from
Yale. He wires his son not to come home, closes
up his house, and travels to the small town of
Florence, where he had been born. He finds Alice
Harland, his now-married childhood sweetheart,
and asks her to run away with him. She initially
agrees, but when he arrives to take her away, she
says she could never leave her children. Despair¬
ing, he returns to the city and resolves to make his
speech and to tell the audience that life has beaten
him. Arriving late, he is seated half-hidden in the
back. Since word has spread that he has gone away
suddenly, several people come forward and pay
tribute to him. Touched by the good will of people
whom he has disliked, when he is discovered and

"Kingdom in the Dark, The" 123

called forward, he tells the crowd that life has
given him everything. Then he goes home and
welcomes his son.

CHARACTERS

Fowler, John Jackson Mr. Fowler’s son, whom
he named for his boss, John Jackson.

Fowler, Mr. John Jackson’s chief clerk, who
named his son for Jackson and who offers tribute to
him at the Civic Welfare League meeting.

Harland, Alice John Jackson’s childhood sweet¬
heart, now married, who refuses to leave her chil¬
dren to run away with him.

Harland, George Alice Harland’s husband, who
owns a garage.

Jackson, Ellery Hamil John Jackson’s son, who
is unwelcome at many houses in town and who has
been expelled from Yale.

Jackson, John Discouraged man who feels that
he has gotten nothing out of life and who returns to
his hometown to seek happiness. When he returns
to the city after being rejected by his now-married
childhood sweetheart, Alice Harland, he is cheered
by the tribute paid to him at a meeting of the Civic
Welfare League.

MacDowell, Thomas J. Man with whom John
Jackson has argued over municipal affairs for 20
years. Despite their quarrels, at the Civic Welfare
League meeting MacDowell offers tribute to Jack-
son as an honorable man.

Ralston, Mrs. Woman who has solicited char¬
itable contributions from John Jackson and who
offers tribute to him at the Civic Welfare League
meeting.

Stirling, George Taxi driver and childhood play¬
mate of John Jackson, whom he drives to a hotel
during Jackson’s visit to his hometown.

John Jackson's Aready
by E Scott Fitzgerald:

A Contest Selection arranged
by Lilian Holmes Strack

Boston: Walter H. Baker, 1928.

Strack cut and revised Fitzgerald’s story as a play
for public reading. See “John Jackson’s Arcady.”

“Kingdom in the Dark, The”

Fiction—third Philippe story. Written Novem¬
ber 1934. Redbook 65 (August 1935), 58-62, 64,
66 - 68 .

While surveying his land to determine its
boundaries, Philippe meets Griselda, who has run
away from Louis, king of the West Franks. The
king arrives with his entourage, and Philippe shows
him and the duke of Guyenne his fort. Philippe
tries to hide Griselda’s gray horse so that the royal
party will be unaware of her presence, but two of
the king’s men find the horse. Philippe denies any
knowledge of the girl, and in retaliation, the king
orders his men to burn Philippe’s fort.

CHARACTERS

the abbot Religious leader who argues with
Philippe over the boundaries between their proper¬
ties, claiming that the wine slopes and forest land
have belonged to the monastery for 20 years. This
character also appears in “In the Darkest Hour.”

Bishop Religious leader traveling with King
Louis. He agrees with the abbot in the abbot’s dis¬
pute with Philippe over the boundaries between
their properties.

Brother Brian A leader of Philippe’s band of
supporters. This character also appears in “In the
Darkest Hour” and “The Count of Darkness.”

duke of Guyenne Nobleman who is traveling
with King Louis and who advises the king not to

124 "Lamp in a Window'

press Philippe too hard in his search for Griselda,
who has run away from the king.

Griselda Woman whom Philippe protects from
discovery by Louis, king of the West Franks, from
whom she has run away. This character also appears
in “Gods of Darkness.”

Guesculin Squire who finds Griselda’s gray horse
and whom Philippe and Jacques kill to keep him
from revealing her presence to King Louis.

Jacques (Jaques) He and Philippe kill squire
Guesculin to keep him from revealing to King
Louis that Griselda, who has run away from the
king, is nearby. This character also appears in “In
the Darkest Hour,” “The Count of Darkness,” and
“Gods of Darkness.”

knight (unnamed) Member of King Louis’s
entourage whom Philippe warns that the Normans
are nearby.

Louis II (Louis the Stammerer) (846-879) His¬
torical figure and character in “The Kingdom in
the Dark.” King of the West Franks and grandson
of Charlemagne (742-814). When Philippe gives
shelter to Griselda, who has run away from Louis,
Louis orders his men to burn Philippe’s fort.

Philippe See entry for this character under “The
Castle.”

Villefranche, Bertram de Philippe’s deceased
father, who was put in charge of his property by
King Charlemagne (742-814). (See also Count
Charles in “In the Darkest Hour.”)

“Lamp in a Window”

Verse. The New YORKER 11 (March 23, 1935), 18;
The Crack'Up; In His Own Time; Poems.

Nostalgic poem addressed to Zelda Fitzgerald
recalling their life together before her breakdowns.

“Last Kiss”

Fiction. Collier’s 123 (April 16, 1949), 16-17,34,
38, 41, 43-44; Bits of Paradise.

Agent Joe Becker introduces English actress
Pamela Knighton to Jim Leonard, who has just
been promoted to producer. She expects that Jim
will give her a part, but he avoids her. When he
unexpectedly encounters her in a drugstore, he
walks her home and kisses her good night at her
request; she says it helps her sleep better. He finally
offers her a part, which she accepts after being let
go from another picture for causing trouble. When
Pamela also causes trouble on Jim’s picture, he vis¬
its her home and discovers that she is residing with
an elderly Englishman, Chauncey Ward, who has
been advising her to fight for her rights. She loses
her part in Jim’s movie and is blacklisted in HOL¬
LYWOOD. After she dies of pneumonia, her ghost
follows Jim home from the drugstore and asks for a
good-night kiss.

CRITICAL COMMENTARY

“Last Kiss” has close ties to The Love of the Last
Tycoon: A Western, sharing the novel’s mood of
loss. Pamela, like Kathleen Moore in the novel, is
based on Sheilah Graham. All three are English
girls who have been, as Pamela says, “an old man’s
darling” (p. 759).

Jim and Pamela are both distinguished by the
unabashed ambition and egotism of the Hollywood
movie culture. The story opens with Jim’s sense
that “it was a fine pure feeling to be on top.” Right
away, however, Fitzgerald emphasizes the artificial¬
ity of the culture, introducing an ironic note of “fair
ladies and brave men” so that “one was very sure
that everything was for the best” (p. 757).

Entering a party, Jim notices that more friends
speak to him than usual because he has just
become a producer, but he is accustomed to that
from previous promotions. He encounters the pro¬
ducer whose job he is taking and is distressed by the
man’s astonishment.

Pamela matter-of-factly admits to taking money
from old men, characterizing herself as “a gold-dig¬
ger” (p. 759). She admits to Jim, “I’m out for all

'Last of the Belles, The" 125

I can get” (p. 759). She offends Jim by emphasiz¬
ing the superiority of English men over Americans,
yet admits that she came along with him because
“there might be something in it for me” (p. 761).
When she misses the irony in Jim’s comments about
her acting potential, she naively assumes that he is
offering her work, and he is amazed at the combi¬
nation of “so much innocence and so much preda¬
tory toughness” (p. 761).

When Jim returns to the party, the atmosphere
has changed and become raucous. “Jealousies and
hatreds” have replaced harmony and happiness,
and Jim discovers that he is “not above the battle
as he had thought” (p. 762). Rather than freeing
him, his new power as an executive “intensified
all his human relations” (p. 762), and he becomes
exclusively absorbed with tact.

When he watches Pamela’s play, Jim recog¬
nizes her talent but realizes that success in the
movies requires luck. “He was luck,” he reflects
(p. 765). She rejects his offer because she has
already signed up with Bernie Wise, and explains,
“At first I didn’t realize you were just a sort of
supervisor. I thought you had more power,” soft¬
ening the blow by offering her ultimate accolade
that he is “more civilized” (pp. 765-766). As he
gives her a ride home, she appraises him and
decides, “Oh, she could do something with him
all right” (p. 766).

Pamela’s ego as an actress causes trouble, and
she loses her part with Wise. Jim hires her and is
soon forced to lecture her for causing trouble on
the set. He explains that the director is success¬
ful because “he has learned never to say the word
T”—which makes him a rarity in Hollywood (p.
767). Pamela’s “confidence, her young egotism, was
greater than her judgment” (p. 770), and she loses
her opportunity forever.

Cosmopolitan declined “Last Kiss” in 1940.
Fitzgerald changed the title to “Pink and Silver
Frost” and later stripped the story for LT/LOLT;
he noted on the typescript, “Unpleasant as hell
except the end.” When Collier’s —which had pre¬
viously declined the story—published “Last Kiss”
several years after Fitzgerald’s death, the maga¬
zine awarded it a $1,000 bonus as the best story
in that issue.

CHARACTERS

Becker, Joe Agent who introduces Pamela
Knighton to Jim Leonard.

Donohue, Elsie Woman who sits with Jim Leon¬
ard at the charity ball.

Griffin, Bob Director with whom Pamela Knigh¬
ton refuses to cooperate.

Harris, Mike Studio head who reports to Jim
Leonard that Pamela Knighton is causing trouble.

Knighton, Pamela English actress whose real
name is Sybil Higgins. She causes trouble on vari¬
ous pictures and is blacklisted in Hollywood. Partly
based on Sheilah Graham.

Leonard, James (Jim) Producer who befriends
Pamela Knighton.

Ward, Chauncey Elderly Englishman with
whom Pamela Knighton resides.

Wise, Bernie Director or producer who gives
Pamela Knighton her first role but fires her for
uncooperative conduct.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

“Last of the Belles, The”

Fiction. Written November 1928. The SATURDAY
Evening Post 201 (March 2,1929), 18-19, 75, 78;
Taps at Reveille.

Andy recounts his experiences in Tarleton,
Georgia, when he was stationed at the army camp
there 15 years before, during World War I. He
became Southern belle Ailie Calhoun’s escort and
confidant when her beau Bill Knowles left town.
When Knowles returned to town while on leave,

126 "Last of the Belles, The"

aviator Horace Canby, who was in love with Ailie,
crashed his plane. When Bill left town again, Ailie
became attracted to Lieutenant Earl Schoen,
despite his lower-class qualities. After the war, Ailie
broke up permanently with Bill and later broke up
with Earl when, minus his uniform, his unattractive
qualities stood out more than ever. Six years later
Andy returned to Tarleton to see Ailie, who had
changed her line to keep up with the new South.
Andy realized that he had always been in love with
her, but she told him she was planning to marry a
Savannah man the next month. Ailie rode with
Andy to the former site of his army camp, where
he nostalgically tried to recapture something of the
past. He realized that with Ailie’s marriage, the
South would forever be empty for him.

CRITICAL COMMENTARY

“The Last of the Belles,” one of Fitzgerald’s most
anthologized stories, is his final fictional study of
the South and its women. It is the third in a tril¬
ogy of stories about Tarleton in which Fitzgerald
explored the differences between North and South;
the other stories are “The Ice Palace” and “The
Jelly-Bean.” Fitzgerald grew up with his father’s
stories about rowing Confederate spies across the
river, and much of his early writing reflects a fas¬
cination with the Civil War. His relationship with
Southern belle Zelda Sayre [Fitzgerald] intensi¬
fied his interest in and ambivalence toward the
South. In 1933 he wrote to JOHN O’HARA about
his mixture of “black Irish” and “old American”
ancestry, describing the Maryland side as having
“that certain series of reticences and obligations
that go under the poor old shattered word ‘breed¬
ing’ (modern form ‘inhibitions’)” (July 18, 1933;
Life in Letters, p. 233). Toward the end of his life,
he wrote to his daughter, SCOTTIE FITZGERALD, “It
is a grotesquely pictorial country as I found out
long ago, and as Mr. Faulkner has since abun¬
dantly demonstrated” (June 15, 1940; Life in Let-
ter s, p. 453).

Although Fitzgerald often criticized the South,
he retained a certain amount of nostalgia about it.
Andy’s comment when he returns to Tarleton six
years after first being stationed there represents at
least part of Fitzgerald’s attitude toward the South:

Illustration for "The Last of the Belles," The Saturday
Evening Post (March 2, 1929). (Bruccoli Collection of F.
Scott Fitzgerald, University of South Carolina)

“I suppose that poetry is a Northern man’s dream of
the South” (p. 460).

As the title “The Last of the Belles” indicates,
the story’s focus is on the southern belle—Ailie
Calhoun in particular. When Andy arrives at the
Tarleton army camp, two men introduce him to
the area by telling him about the girls there. The
southern woman serves as the symbol of all that

'Last of the Belles, The" 127

the South represents. Andy identifies Ailie as “the
Southern type in all its purity”:

She had the adroitness sugar-coated with sweet,
voluble simplicity, the suggested background of
devoted fathers, brothers and admirers stretch¬
ing back into the South’s heroic age, the unfail¬
ing coolness acquired in the endless struggle
with the heat. There were notes in her voice
that order slaves around, that withered up Yan¬
kee captains, and then soft, wheedling notes
that mingled in unfamiliar loveliness with the
night, (p. 450)

Although Ailie is the archetypal southern belle,
she is also “consciously and voluntarily different”
from the other girls (p. 451). Like Sally Carrol Hap-
per in “The Ice Palace” and Nancy Lamar in “The
Jelly-Bean” (both of whom make cameo appear¬
ances in “The Last of the Belles”), Ailie is initially
more attracted to northern men than southerners,
but she ultimately concludes that she could never
marry a northern man.

Six years after the initial action of the story,
Andy revisits Tarleton and finds a new Ailie in a
“newer South.” The passage of time has changed
both the place and the person. She has “a different
line” and has lost the “modulations of pride, the
vocal hints that she knew the secrets of a brighter,
finer ante-bellum day” (p. 460), for there is no time
for such things anymore. Ailie has become nervous,
glowing, reckless, and feverish. Andy evaluates the
new generation at the country club as less dignified
than the young people he had known in Tarleton
before. He views Ailie’s “wild animation” as “an
admission of defeat” (p. 461), and now even the
“last of the belles” is no more.

The action of “The Last of the Belles” is filtered
through the perspective and memories of narrator
Andy, a Yankee outsider, 15 years after it takes
place. Like Nick Carraway in The Great Gatsby,
Andy passes more judgments than he cares to
admit. Distressed by Ailie’s self-centered reaction
to Horace Canby’s death, he reflects, “Of course I
should have made one of those fine moral decisions
that people make in books, and despised her,” but
says that “she could still have had me by raising
her hand” (p. 453). His reflection that he “should

have” judged her shows that, years later at least, he
actually did judge her.

Andy begins his reminiscences by saying “I’ve
forgotten how I felt” (p. 449), but his reflections
are laced with his emotions, his wistful nostalgia
for the days gone by. He speaks of leaving Ailie
in the evenings “with the remembered smell of
magnolia flowers and a mood of vague dissatisfac¬
tion” (p. 451). On the final night before many of
the soldiers were to head overseas, he felt “the
universal nostalgia of the departing summer,” and
the girls who joined the farewell party sensed “a
bewitched impermanence as though they were
on a magic carpet.” The group of three officers
and three girls toasted themselves and the South,
then left their “napkins and empty glasses and a
little of the past on the table” (p. 457). This con¬
nection between the past and the leftover litter of
a dinner party previews Andy’s search for memo¬
ries when he visits the site of the army camp six
years later: “I stumbled here and there in the
knee-deep underbrush, looking for my youth in
a clapboard or a strip of roofing or a rusty tomato
can” (p. 462).

Andy’s sense of loss is two-pronged: The lively
place he remembered is gone “as if it had never
existed,” and Ailie will be leaving in a month to
marry a Savannah man. Thus, Andy reflects, “the
South would be empty for me forever” (p. 463).
This retrospective, reassessing story is characteris¬
tic of the stories Fitzgerald wrote at the end of the
twenties.

ADAPTATIONS

The story was made into a movie for television in
1994: The Last of the Belles, a Herbert Brodkin pro¬
duction, written for television by James Costigan,
distributed by Timeless Video.

CHARACTERS AND PLACE
Andy Narrator of “The Last of the Belles.” Yan¬
kee soldier stationed in Tarleton, Georgia, during
World War I.

Calhoun, Ailie Belle who represents “the South¬
ern type in all its purity” (p. 450). She flirts with
the officers stationed in Tarleton, Georgia, during

128 Last Tycoon, The

World War I, including Lieutenant Earl Schoen,
to whom she is attracted despite his lower-class
qualities. Though she considers marrying a north¬
ern man, she finally plans to marry a man from
Savannah.

Canby, Lieutenant Horace Aviator who is in
love with Ailie Calhoun and threatens to crash
his plane if she marries Bill Knowles. When he
does crash his plane after Knowles returns to
town, Ailie does not want anyone to know about
his threat.

Craker, Captain Soldier who has a date with
Nancy Lamar before his scheduled embarkation for
France.

Happer, Sally Carrol Girl from Tarleton, Geor¬
gia, who has a date with Andy. This character also
appears in “The Ice Palace” and “The Jelly-Bean.”

Knowles, Bill Yankee aviator whom Ailie Cal¬
houn considers marrying.

Lamar, Nancy A beautiful, popular girl who is
proud of being wild and hard. Like many of Fitzger¬
ald’s female characters, she is daring and charming
but harmful to the men who love her. In “The Last
of the Belles” she has a date with Captain Craker.
This character also appears in “The Jelly-Bean.”

Preston, Kitty Girl who dates Earl Schoen until
he becomes interested in Ailie Calhoun.

Schoen, Lieutenant Earl Lower-class Yankee
soldier who pursues Ailie Calhoun.

Tarleton, Georgia Fictional southern city, loosely
based on MONTGOMERY, Alabama; the setting of
“The Ice Palace” (May 1920), “The Jelly-Bean”
(October 1920), and “The Last of the Belles” (March
1929). “A little city of forty thousand that has dozed
sleepily for forty thousand years in southern Georgia,
occasionally stirring in its slumbers and muttering
something about a war that took place sometime,
somewhere, and that everyone else has forgotten long
ago” (The Short Stories of F. Scott Fitzgerald, p. 143).

FURTHER READING

Quotations are from The Short Stories of F. Scott

Fitzgerald, edited by Matthew J. Bruccoli (New

York: Scribner, 1989).

Bullock, Heidi Kunz. “The Southern and the Satirical
in ‘The Last of the Belles.’” In New Essays on F.
Scott Fitzgerald’s Neglected Stories, edited by Jack-
son R. Bryer (Columbia: University of Missouri
Press, 1996), 130-137.

Last Tycoon, The

Novel. Edited by Edmund Wilson. New York:
Charles Scribner’s Sons, 1941; London: Grey
Walls Press, 1949. See entry for The Love of the Last
Tycoon: A Western.

“Lees of Happiness, The”

Fiction. Written July 1920. Chicago Sunday Tri¬
bune, December 12, 1920, Blue Ribbon Fiction sec¬
tion, pp. 1, 3, 7; Tales of the Jazz Age.

Author Jeffrey Curtain and former chorus girl
Roxanne Milbank Curtain have been happily mar¬
ried for a little over a year when he suffers a stroke.
He becomes a hopeless invalid, and she devotes
herself to his care. Their friend Harry Cromwell,
who is unhappily married and later divorced, is
a frequent visitor. Jeffrey dies after 11 years, and
Roxanne plans to run a boardinghouse.

CHARACTERS

Cromwell, George Harry and Kitty Cromwell’s
little boy.

Cromwell, Harry Jeffrey Curtain’s closest friend,
an unhappily married man. A frequent visitor

'Lipstick" 129

during Jeffrey’s illness, he is devoted to Roxanne
Curtain.

Cromwell, Kitty Carr Harry Cromwell’s unat¬
tractive wife, who leaves him and marries another
man after their divorce.

Curtain, Jeffrey Author who has been happily
married to actress Roxanne Milbank [Curtain] for
a year when he suffers a stroke. He is paralyzed for
11 years and then dies.

Curtain, Roxanne Milbank Chorus girl and
actress who marries Jeffrey Curtain and devotes
herself to taking care of him during his 11-year
paralysis.

Jewett, Doctor Physician who comes in for a
consultation on Jeffrey Curtain’s condition.

“Let’s Go Out and Play”

Antiwar radio drama that Fitzgerald wrote for
the Columbia Broadcasting Company for $700 in
September 1935. It was broadcast on the Squibb
“World Peaceways” program on WABC in New
York on October 3, 1935, at 9:30 P.M. No copy of
the script which was offered to listeners has been
located, but there is a typescript of the play in
Princeton University Library.

Letters

There are six collections of Fitzgerald’s correspon¬
dence: The Letters of F. Scott Fitzgerald, editd by
Andrew Turnbull (New York: Charles Scrib¬
ner’s Sons, 1963; London: Bodley Head, 1964);
Dear Scott/Dear Max, edited by John Kuehl and
Jackson R. Bryer (New York: Charles Scribner’s
Sons, 1971; London: Cassell, 1973)—correspon¬
dence between Fitzgerald and editor MAXWELL
Perkins; As Ever, Scott Fitz —, edited by Matthew
J. BRUCCOLI, with Jennifer McCabe Atkinson; fore¬

word by Scottie Fitzgerald Smith (Philadelphia
& New York: Lippincott, 1972; London: Woburn,
1973)—correspondence between Fitzgerald and
agent HAROLD OBER; Correspondence of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli and
Margaret M. Duggan, with Susan Walker (New
York: Random House, 1980)—includes previously
uncollected letters and letters Fitzgerald received;
F. Scott Fitzgerald: A Life in Letters, edited by Mat¬
thew J. Bruccoli, with Judith S. Baughman (New
York: Charles Scribner’s Sons, 1994)—“the stan¬
dard one-volume edition”—arranged chrono¬
logically, with an emphasis on autobiographical
content; Letters to His Daughter, edited by Andrew
Turnbull, with an introduction by Frances Fitzger¬
ald Lanahan (New York: Charles Scribner’s Sons,
1965)—reprints letters to Scottie Fitzgerald which
had previously been published in The Letters of F.
Scott Fitzgerald.

Life Begins at Eight-Thirty

Twentieth Century-Fox, 1940

Fitzgerald’s last screenwriting assignment. He
worked for Twentieth Century-Fox in 1940 on
an adaptation of the 1940 play The Light at Heart
by Emlyn Williams (1905-87); his screenplay was
rejected. The movie, directed by Irving Pichel
(1891-1954), was released with screenplay by
Nunnally Johnson. Monty Woolley (1888-1963)
starred as an alcoholic former actor who takes a job
as a street-corner Santa Claus.

“Lipstick”

Screenplay. FITZGERALD/HEMINGWAY ANNUAL

(1978), pp. 3-35.

In January 1927 United Artists producer John
W. Considine (1898-1961) hired Fitzgerald to
write an original flapper comedy for actress Con¬
stance Talmadge (1900-73), paying him a $3,500
advance with an additional $12,500 to be paid
on acceptance of the script. Fitzgerald and Zelda

130 "Lives of the Dancers'

moved to HOLLYWOOD, where they lived at the
Ambassador Hotel for two months while he
worked on the project; during this stay he met
actress LOIS MORAN. Fitzgerald’s script is set in
PRINCETON and stars an unjustly imprisoned girl
who has a magic lipstick that makes men want to
kiss her. It was rejected, and he was not paid the
$12,500 balance.

“Lives of the Dancers”

Notebooks, #1599.

Ballet synopsis about the Russian ballet before
the 1917 Revolution and some Russian dancers
who move to PARIS and eventually to America
after the war. Fitzgerald referred to this synopsis in
a 1936 letter to Harold Ober as “something that I
wrote gratuitously for a Russian dancer some years
ago” (February 8, 1936; Life in Letters, p. 296; As
Ever, pp. 248-249).

“Long Way Out, The”

Fiction. Written May 1937. Esquire 8 (September
1937), 45, 193; Stories.

Mrs. King goes into a coma at the birth of her
second child, emerges with schizophrenia, and is
sent to a sanitarium. As her condition improves
she is given permission to take a trip with her
husband, George King, but he is injured in a
car accident on his way to see her. The doctors
decide simply to tell her that her husband has
been delayed, and they continue this story for
several days. When her husband dies, the doctors
finally tell her the truth, but she laughs it off as an
attempt to see whether she is still sick. Over the
years she dresses every day in the same suit and
waits for her husband to arrive.

CHARACTERS

doctor (unnamed) Man who tells the story of
Mrs. George King to the narrator.

King, George Man who dies from injuries
received in a car accident on his way to pick up his
wife at the sanitarium.

King, Mrs. George Woman who suffers a coma
and schizophrenia after the birth of her second
child. While in the sanitarium, she waits every
day for her husband to meet her for a trip and
refuses to believe the news of his death in a car
accident.

narrator (unnamed) Person to whom the doc¬
tor tells the story of Mrs. George King.

Pirie, Dr. Mrs. George King’s doctor, who allows
her to keep waiting for her husband every day when
she refuses to accept the news of his death.

“Looking Back Eight Years”

Article by Zelda Fitzgerald. College Humor 14
Qune 1928), 36-37; Zelda Fitzgerald: The Collected
Writings. Bylined “F. Scott and Zelda Fitzgerald”
but credited to Zelda in Ledger.

Analysis of the impact of World War I on the
“Younger Generation,” who are “haunted and
harassed by a sense of unfulfilled destiny” and have
“a baffled feeling of frustration” (Collected Writings,
p. 409).

“Lost Decade, The”

Fiction. Written 1939. ESQUIRE 12 (December
1939), 113, 228; Stories.

Orrison Brown’s boss asks him to take to lunch
Louis Trimble, a once-famous architect who has
“been away” during the 1930s. Trimble, who spent
the decade drunk, tries to recover a sense of reality:
“I simply want to see how people walk and what
their clothes and shoes and hats are made of. And
their eyes and hands” (p. 749).

'Love Boat, The" 131

CHARACTERS

Brown, Orrison Young man who takes Louis
Trimble to lunch.

Trimble, Louis Architect who tries to recapture
a sense of reality after being drunk for a decade.

“Lo, the Poor Peacock!”

Fiction. Written 1935. ESQUIRE 76 (September
1971), 154-158; The Price Was High.

Jason Davis, who has lost a lot of money, is forced
to give up his secretary, take his daughter, Jo Davis,
out of private school, and move to a small apartment.
When the grocer closes his account and the doctor
tells him that his wife, Annie Lee Davis, who is hos¬
pitalized for heart trouble, will never get any better,
Davis plans to kill himself. When the phone inter¬
rupts him with notice that Jo has been expelled from
her public high school, he changes his mind. Annie
Lee’s family farm, formerly noted for its sausage,
becomes profitable when the original recipe is used
again; Jo’s school discovers that it erred in expelling
her; Davis wins a big account in the textile industry;
and Annie Lee comes home from the hospital.

The Esquire text was abridged and revised by an
editor; Fitzgerald’s text appears in The Price Was
High.

CHARACTERS

Aunt Rose Black worker who helps make sausage
on Annie Lee Davis’s family farm.

Cale, Mr. Man to whom Jason Davis pawns the
family silver.

Davis, Annie Lee Jason Davis’s invalid wife.

Davis, Jason Man who nearly commits suicide
when his finances plummet, but whose fortunes
improve.

Davis, Jo Jason and Annie Lee Davis’s daughter,
who is unjustly expelled from school.

Deshhacker, Mrs. Grocer’s wife who closes Jason
Davis’s account at the store.

Halklite, Mr. Vice-president of a large textile
company who gives a big account to Jason Davis
even though Davis is too ill to meet him.

Keyster, Doctor Annie Lee Davis’s physician,
who thinks she will never get well.

McCrary, Miss Secretary whom Jason Davis lets
go because of financial constraints.

McCutcheon, Mr. Principal who unjustly expels
Jo Davis from high school.

Young Seneca Man who works on Annie Lee
Davis’s family farm.

“Love Boat, The”

Fiction. Written August 1927. The SATURDAY EVE¬
NING POST 200 (October 8, 1927), 8-9, 134, 139,
141; The Price Was High.

Three young Harvard graduates—Bill Frothing-
ton, Ellsworth Ames, and Hamilton Abbot—board
a boat where a high school dance is being held. Bill
falls in love with high school student Mae Purley,
who abandons A1 Fitzpatrick for Bill. Bill and Mae
date for two months, and he wants to marry her
but hesitates because of the wide difference in their
social classes. They quarrel and part; after serving
in the war, Bill marries a girl of his own set, Stella
[Frothington]. After eight years of marriage, Bill
feels restless and recalls the moonlit night on the
boat with Mae as the symbol of his youth. He goes
to visit Mae, who is now married to A1 Fitzpatrick,
then gets drunk and boards a boat with another
high school dance, where he gets into a fight and is
thrown overboard. When he returns home the next
afternoon, he discovers that Stella has left him.

CHARACTERS

Abbot, Hamilton (Ham) One of three young
Harvard graduates who board a boat where a high

1 32 "Love in the Night"

school dance is being held. He dates Mae Purley for
a year after she breaks up with Bill Frothington.

Ames, Ellsworth (Ellie) One of three young
Harvard graduates who board a boat where a high
school dance is being held.

Fitzpatrick, Al Mae Purley’s date to the high
school dance on the boat and later her husband.

Frothington, Bill One of three young Harvard
graduates who board a boat where a high school
dance is being held. He falls in love with Mae Pur-
ley but marries Stella [Frothington], a girl of his
own social class.

Frothington, Mrs. Bill Frothington’s mother,
who urges him not to disgrace the family name by
marrying Mae Purley.

Frothington, Stella Girl whom Bill Frothington
marries despite his earlier attraction to Mae Purley.

McVitty, Mr. High school principal and dance
chaperone.

Purley, Mae Lower-class high school girl with
whom Bill Frothington falls in love.

Schaffer, May Popular high school girl with
whom Bill Frothington dances at the second high
school dance on a boat.

“Love in the Night”

Fiction. Written November 1924. The SATURDAY
Evening Post 197 (March 14, 1925), 18-19, 68,
70; Bits of Paradise.

Seventeen-year-old Val Rostoff, a Russian prince,
experiences his first love when he meets a girl on
the yacht The Privateer in the harbor at CANNES.
They do not reveal their names, and after she kisses
him, she tells him that she has recently married
a 60-year-old man. After Val’s parents’ death in
the Russian Revolution, he returns destitute to
Cannes, working first as a taxi driver and then in

a bank. He takes his vacation the last two weeks
of every April in memory of his encounter with the
girl. In 1922 he learns that the girl, now widowed,
has also returned to the Cannes harbor in April for
the past two years. He does not wish her to see him
as a failure, but on his way out of town he stops at
the American consulate to learn her name in case
his fortunes ever improve. She has instructed the
consulate to notify her if anyone inquires for her,
and while he is there, she arrives. They marry and
settle in New York, where Val operates a thriving
taxi business, and they return every April to the
Riviera.

“Love in the Night” was Fitzgerald’s first story
set abroad, and it began a series of stories in which
he contrasted America and Europe. Fitzgerald sal¬
vaged some material from the story for Tender Is the
Night, including the evocation of the pre-Revolu-
tion Russian colony on the Riviera.

CHARACTERS

girl (unnamed) Young woman whom Prince Val
Rostoff meets on a yacht and marries several years
later.

Rostoff, Prince Paul Serge Boris Prince Val Ros-
toff s Russian father, a distant relative of Peter the
Great (1672-1725).

Rostoff, Princess Prince Val Rostoffs wealthy
American mother, who looks down on her native
country.

Rostoff, Prince Val Russian prince who falls in
love with a girl whom he meets on a yacht. Based
partly on Fitzgerald’s friend Prince Val Engalitcheff,
who committed suicide in 1923.

Love of the Last Tycoon, The:
A Western (The Last Tycoon)

Novel. Edited by MATTHEW J. BRUCCOLI (Cam¬
bridge: Cambridge University Press, 1993).

Love of the Last Tycoon, The: A Western 133

TITLE

When Fitzgerald died with his fifth novel unfin¬
ished, he had not yet decided on a title. Edmund
Wilson provided the title The Last Tycoon when
he edited the work for its original publication (New
York: Charles Scribner’s Sons, 1941), but there
is no evidence that this title was the author’s final
choice. The only typed title page in Fitzgerald’s
draft material names the novel “STAHR / A
Romance.” When SHEILAH Graham, Fitzgerald’s
companion in HOLLYWOOD, sent his manuscripts
to editor MAXWELL PERKINS, she told him the work¬
ing title was “Stahr.” She further noted that a few
weeks before his death, Fitzgerald had asked what
she thought of “The Love of the Last Tycoon.”
Frances KroLL, Fitzgerald’s secretary, referred
to the novel as “Stahr” three times and wrote to
Edmund Wilson that “Scott satirically considered
the alternative title for the book ‘The Last of the
Tycoons’” Q une H> 1941; LOLT, p. lv).

A page of notes in Fitzgerald’s handwriting
headed “Title” includes “The Last Tycoon,” but it
and all other notes are crossed out except for “The
Love of the Last Tycoon/A Western,” which is the
only title on the list written in title-page format
with subtitle and author’s name. Fitzgerald wrote

and deleted this note next to the title: “This is the
familiar Fitzgerald formula but the boy grows tired”
(LOLT, p. xvi).

Bruccoli explains his choice of this title for
his critical edition of the novel: It is “preferable
because it is close to the title by which the novel
has been known and because it has the Fitzgerald
bouquet. Fitzgerald was in fact writing a western—
a novel about the last American frontier, where
immigrants and sons of immigrants pursued and
defined the American dream. It is appropriate that
these tycoons made movie westerns: They too were
pioneers” (LOLT, p. xvii).

COMPOSITION

Although the seed for LOLT was planted as early
as his January 1927 meeting with producer IRVING
Thalberg, the model for protagonist Monroe Stahr,
Fitzgerald did not begin to write the novel until the
termination of his MGM contract in January 1939.
On May 29 he reported to HAROLD Ober, “I have
blocked out my novel completely with a rough sketch
of every episode and event and character” (Life in
Letters, p. 393; As Ever, p. 389). On October 14
he wired Perkins: “I THINK I CAN WRITE THIS
BOOK AS IF IT WAS A BIOGRAPHY BECAUSE

Dust jacket for Fitzgerald's last novel, posthumously published in 1941. (Bruccoli Collection of F. Scott Fitzgerald,
University of South Carolina)

134 Love of the Last Tycoon, The: A Western

I KNOW THE CHARACTER OF THIS MAN”
(Life in Letters, p. 414).

Fitzgerald hoped that COLLIER’S would serialize
the novel. On September 29 he sent a synopsis to
Collier’s editor Kenneth Littauer, stating: “I hope
it will be something new, arouse new emotions per¬
haps even a new way of looking at certain phenom¬
ena. I have set it safely in a period of five years ago
to obtain detachment, but now that Europe is tum¬
bling about our ears this also seems to be for the
best. It is an escape into a lavish, romantic past that
perhaps will not come again into our time” ( Life in
Letters, p. 412). Littauer was interested but declined
to make an advance without a substantial sample,
for which he offered $5,000 if Collier’s accepted
the novel after seeing the sample, with another
$5,000 advance for the next 20,000 words (Octo¬
ber 10, 1939; Correspondence, pp. 550-551). The
terms Littauer proposed totaled at least $20,000 for
serial rights to the novel, but the final price was to
be negotiated later. Fitzgerald was dissatisfied with
the offer and asked Maxwell Perkins to negotiate
for a larger advance.

In November Fitzgerald sent Littauer and Per¬
kins a 6,000-word sample consisting of the first
chapter of the novel. Littauer wired on November
28: “FIRST SIX THOUSAND PRETTY CRYP¬
TIC THEREFORE DISAPPOINTING. BUT YOU
WARNED US THIS MIGHT BE SO. CAN WE
DEFER VERDICT UNTIL FURTHER DEVEL¬
OPMENT OF STORY? IF IT HAS TO BE NOW
IT HAS TO BE NO. REGARDS” (Correspon¬
dence, p. 561). Fitzgerald replied an hour later:
“NO HARD FEELINGS THERE HAS NEVER
BEEN AN EDITOR WITH PANTS ON SINCE
GEORGE LORIMER” (Life in Letters, p. 421). That
day Fitzgerald wired Perkins to send the sample to
The Saturday Evening Post, which declined the
serial rights. The next day he wired Perkins to show
the synopsis to agent Leland Hayward, hoping
for an advance from a studio for movie rights, but
Hayward said he could do nothing until the novel
was written.

Fitzgerald’s work on the novel was interrupted
by the financial necessity of writing the Pat Hobby
stories and other short pieces for ESQUIRE, as well
as by his work on the unproduced screenplay for

his story “Babylon Revisited” (see “Cosmopolitan”).
Although he was careful not to use novel material
in the Hobby stories, several of his other Hollywood
stories have connections to LOLT. Miles Caiman,
the brilliant movie director in “Crazy Sunday”
(October 1932), is partly based on Irving Thalberg.
Pamela Knighton of “Last Kiss” (unpublished until
1949) is, like Kathleen Moore in LOLT, based on
Sheilah Graham. Beauty Boy in “Dearly Beloved”
(unpublished until 1969) has connections with the
philosophical fisherman in the novel.

When Fitzgerald died of a heart attack on
December 21, 1940, he had written drafts of 17
of the projected 30 episodes for the novel. Per¬
kins, who wanted to publish the novel both as a
memorial to Fitzgerald and to earn money for the
author’s estate, was unsure about the best way to
present the work in progress. He considered hav¬
ing another writer complete the novel, but both
John O’Hara and Budd Schulberg declined the
task. It was arranged for Edmund Wilson to edit
the work; extant documents show that he styled
the punctuation, corrected spelling, altered names,
replaced words, moved two scenes, and combined
episodes into chapters, conveying the impression
of a more finished work than Fitzgerald’s working
drafts represent. He also provided the title without
specifying a source. For a more complete discussion
of Fitzgerald’s work in progress, as well as the edit¬
ing and publication process, see Matthew J. Bruc-
coli’s introduction to The Love of the Last Tycoon: A
Western and Bruccoli, “The Last of the Novelists": F.
Scott Fitzgerald and The Last Tycoon.

PUBLICATION AND RECEPTION

THE LAST TYCOON / AN UNFINISHED NOVEL
/ BY / F. SCOTT FITZGERALD / TOGETHER
WITH / THE GREAT GATSBY / AND SELECTED
STORIES was published on October 27, 1941, at
$2.75. The volume included “May Day,” “The Dia¬
mond as Big as the Ritz,” “The Rich Boy,” “Abso¬
lution,” and “Crazy Sunday,” as well as Wilson’s
foreword, his synopsis of the unwritten episodes, and
30 pages of edited selections from Fitzgerald’s notes
for the novel. The first printing was less than 5,000
copies; the volume was reprinted in 1941, 1945,
1947, and 1948.

Love of the Last Tycoon, The: A Western 135

Most of the reviews were favorable, and the posi¬
tive responses of Stephen Vincent Benet and JAMES
Thurber may have contributed to the Fitzgerald
REVIVAL. Benet wrote: “Had Fitzgerald been per¬
mitted to finish the book, I think there is no doubt
that it would have added a major character and a
major novel to American fiction. As it is, ‘The Last
Tycoon’ is a great deal more than a fragment. It
shows the full powers of its author, at their height
and at their best. .. . You can take off your hats
now, gentlemen, and I think perhaps you had bet¬
ter. This is not a legend, this is a reputation—
and, seen in perspective, it may well be one of the
most secure reputations of our time” (“Fitzgerald’s
Unfinished Symphony,” Saturday Review of Litera¬
ture 24 [December 6, 1941], 10; F. Scott Fitzger¬
ald: The Critical Reception, pp. 375-376). JOHN Dos
PASSOS expressed admiration for the novel in his
1945 Crack-Up essay, concluding, “Even in their
unfinished state these fragments, I believe, are of
sufficient dimensions to raise the level of American
fiction to follow in some such way as Marlowe’s
blank verse line raised the whole level of Elizabe¬
than verse” (CU, p. 343). (See also critical repu¬
tation AND RECEPTION OF NOVELS.)

SYNOPSIS

Note: The following synopsis is keyed to the epi¬
sode and section designations in Fitzgerald’s latest
revised typescripts (these designations are utilized
in the Cambridge critical edition of the novel);
Wilson’s chapter designations (which appear in all
other editions) are provided in brackets.

Chapter I

Cecelia Brady tries to explain Hollywood by relating
the events of five years ago (around 1935). While
flying home to Hollywood for the summer vacation
from Bennington College, Cecelia meets screen¬
writer Wylie White and Mannie Schwartze, the
former head of a Hollywood combine. When the
plane is grounded in Nashville, Wylie takes Cece¬
lia and Schwartze to visit the Hermitage, home of
President Andrew Jackson (1767-1845). Schwartze
does not return to the plane with the others, and
they later learn that he has shot himself. Back on
the plane, Cecelia talks with her father’s partner,

Monroe Stahr, with whom she is secretly in love
and to whom Schwartze had sent a note of warn¬
ing against his enemies. Stahr, who has identified
himself as “Mr. Smith” on this plane ride, lectures
the pilot on decision making (an episode based on
Fitzgerald’s first meeting with Irving Thalberg).

Episodes 4 and 5 [Chapter 2]

On a July night a month later, Cecelia is in her
father’s office at the studio when an earthquake
occurs. Stahr, who was asleep in his own office
when the quake hit, calls in troubleshooter “Robby”
Robinson.

Episode 6 [Chapter 2]

Stahr and Robby arrive at the flooded back lot,
where they see two women floating on the head of
the god Siva, a movie prop. Stahr is struck by the
resemblance of one of the women to his dead wife,
Minna Davis.

Episode 7 [Chapter 3]

To give a glimpse of Stahr functioning, Cecelia
begins to describe “a producer’s day.” In the morn¬
ing Stahr is informed that cameraman Pete Zavras
jumped off the balcony of the administration build¬
ing and broke his arm in a failed suicide attempt.
Stahr asks his secretary, Catherine Doolan, to find
out whether Malone, the policeman who had put the
two women off the back lot last night, knows their
names; but Malone has no helpful information.

Episode 8 [Chapter 3]

Stahr meets with English novelist George Boxley,
who is struggling to write for the movies. Gag man
Mike Van Dyke demonstrates a slapstick routine.
Mr. Roderiguez, an impotent actor, comes to Stahr
for advice.

Episode 9 [Chapter 3]

Stahr holds a conference with writers Rose Meloney
and Wylie White, supervisor Joe Rienmund, and
director John Broaca. He explains his dissatisfac¬
tion with a script scheduled for production in two
weeks and offers suggestions for its improvement.
Robinson leaves a message that one of the women
from the back lot said that she had just moved
to Los Angeles and that her name was Smith or
Brown or Jones; Stahr recalls that the woman wore

136 Love of the Last Tycoon, The: A Western

a silver belt. Stahr asks Miss Doolan about Pete
Zavras, who is rumored to be going blind.

Episode 10 [Chapter 3]

Danish Prince Agge, who is visiting the studio, has
lunch at the commissary with 11 of the most pow¬
erful men of the studio, including Stahr, Pat Brady,
studio executives Marcus and Leanbaum, company
lawyer Mort Flieshacker, and theater owner Joe
Popolous. Stahr shocks the others by proposing
a quality picture that will lose money. Robinson
remembers that the woman’s name was Smith, and
Stahr assigns Miss Doolan to call all the Smiths
who have taken new phones in the last month.

For Episode 11 [Chapter 4]

Stahr replaces director Red Ridingwood because
Ridingwood cannot handle the star actress in his
movie.

Episode 11 [Chapter 4]

Stahr and others watch the day’s rushes and screen
tests in his projection room. Stahr’s oculist, to whom
he had sent Pete Zavras, reports that Zavras has
nearly perfect vision and gives him a letter to dispel
the rumors. Stahr placates the Marquands, writers
who are upset that they are not working alone on
the script, a situation that “shocks their sense of
unity”; he tells Prince Agge, “I’m the unity” (p. 58).
Stahr receives a phone call from Edna Smith, the
woman with the silver belt; she reluctantly agrees
to meet him at a drugstore that night. Pete Zavras
thanks Stahr for “saving” him and offers to help if
he ever wants anybody’s throat cut.

Episode 12 [Chapter 4]

Stahr meets Edna Smith and sees no resemblance
to Minna. He offers to take her home, and she
asks him to drop her off at the house of her friend,
Kathleen Moore. When Stahr sees Kathleen, he
realizes that she is the one who looks like Minna
and that he had been mistaken about the belt.
Stahr lingers to talk with Kathleen and invites her
to visit the studio.

Episode 13 [Chapter 5]

A week later Wylie White drives Cecelia to the
studio, where she is disappointed by Stahr’s rejec¬
tion of her invitation to the screenwriters’ ball.

13 (continued) [Chapter 5]

At the ball Cecelia sees Stahr dancing with Kath¬
leen and tries to find out who she is. Stahr walks
Kathleen to her car, and she agrees to meet him
the next day.

Section 14 [Chapter 5]

Stahr and Kathleen meet the next afternoon and
go for a drive, stopping for a Coke at a restaurant
with a trained seal. He takes her to the house he is
building on the beach, where he receives a phone
call alleged to be from the president of the United
States but which turns out to be from an orang¬
utan who resembles President William McKinley
(1843-1901).

Section 14 (2nd part) [Chapter 5]

Stahr and Kathleen drive back to the city. After
they kiss at her door, they get back in the car to
return to his house.

Section 14 (Partiii) [Chapter 5]

Back at his house, Stahr and Kathleen make love.
She tells him about “the man” she once lived with
and how he educated her. Stahr and Kathleen walk
along the beach, where they encounter a black
fisherman who says he never goes to movies or
lets his children go because “There’s no profit”
(p. 93). Stahr is profoundly affected by the man’s
comments and changes his plans about several
forthcoming movies as a result. When Stahr takes
Kathleen home, she looks in his car for an envelope
that she thinks fell out of her purse, but she does
not find it. Stahr returns home, where his Filipino
servant brings him a letter that fell out of the car.
After reading scripts for three hours, Stahr opens
the letter, which Kathleen had written before their
date and in which she reveals that she is to be mar¬
ried soon.

Section 15 (first part) [Chapter 5]

Cecelia visits Rose Meloney and tells her that she
has a rival for Stahr’s affections. Rose agrees to call
Martha Dodd, a faded star who had been at the
same table with Kathleen at the ball.

15 (second part) [Chapter 5]

Cecelia and Rose meet Martha Dodd for lunch,
and Cecelia takes Martha to meet her father in

Love of the Last Tycoon, The: A Western 137

hopes of getting her work. Cecelia finds her father’s
secretary, Birdy Peters, naked in a closet in his
office. Martha takes Cecelia to Kathleen’s house,
but Kathleen is not at home.

Episode 16, First Part [Chapter 5]

Stahr lectures George Boxley on writing for the
movies and then takes him to Jaques La Borwits’s
office, where Boxley’s suggestion inspires the other
writers to get back to work on a problematic script.

Episode 16 (Part 2) [Chapter 5]

Doctor Baer conducts Stahr’s weekly examination
and reflects that Stahr, who has heart trouble, will
surely die soon. Kathleen calls Stahr; although he
expresses his outrage over her letter, he agrees to
pick her up later that night. While they ride in
his limousine, she tells him that the man she had
lived with was a king and discusses her upcoming
marriage to an American. He suggests that she go
somewhere with him for the weekend, but she hesi¬
tates. Stahr resists his inclination to persuade her
that their future lies together, resolving to wait until
the next day to settle things. The next afternoon he
receives a telegram from Kathleen announcing that
she was married at noon.

Episode 17 [Chapter 6]

Stahr asks Cecelia to help him meet a Communist
Party member; she arranges for Brimmer to meet
Stahr at her house, where Stahr complains about
Communist interference with his writers. The three
go to dinner, where Stahr, miserable over the loss
of Kathleen, gets drunk. When they return to the
Brady house, Stahr announces that he is going to
beat Brimmer up, but Brimmer knocks him down.
After Brimmer leaves, Stahr invites Cecelia to visit
Douglas Fairbanks’s (1883-1939) ranch with him.

The Unwritten Episodes

When he died, Fitzgerald had written only 17 of his
projected 30 episodes for the novel, and much of the
plot was undeveloped. His outline and working notes
indicate that he planned for Pat Brady to blackmail
Stahr, who resumes his affair with Kathleen after her
marriage, and for Stahr to retaliate with information
about Brady. When Stahr learns that Brady is plan¬
ning to have him murdered, he arranges for Brady’s
murder during his own absence from Hollywood.

On the plane Stahr rejects his plan but is unable
to call off the murder because his plane crashes.
Fitzgerald originally planned to end the novel by
having children who plunder the plane wreckage be
influenced by the possessions they take. This con¬
clusion was apparently discarded or altered in favor
of ending with Stahr’s funeral, for which has-been
actor Johnny Swanson is mistakenly invited to be a
pallbearer, with the result that his career is revived
on the basis of his supposed closeness to Stahr.

CRITICAL COMMENTARY

Fitzgerald’s final outline chart for LOLT includes
this note: “WRITTEN FOR TWO PEOPLE-FOR
SF AT 17 AND FOR EW AT 45-IT MUST
PLEASE THEM BOTH” (p. xlvii). “SF” refers to
his daughter SCOTTIE FITZGERALD, and “EW” refers
to Edmund Wilson, his PRINCETON classmate and
ultimately the editor of the novel. The note indi¬
cates Fitzgerald’s desire for his novel to bridge the
current young generation and his own.

On October 31, 1939, Fitzgerald wrote to Scot-
tie: “Look! I have begun to write something that
is maybe great. ... It may not make us a cent but
it will pay expenses and it is the first labor of love
I’ve undertaken since the first part of ‘Infidelity.’

. .. And I think when you read this book, which
will encompass the time when you knew me as an
adult, you will understand how intensively I knew
your world—not extensively, because I was so ill
and unable to get about” (Life in Letters, p. 419).

A Hollywood Novel

Even in its unfinished state, LOLT is an excel¬
lent Hollywood novel. It captures and expresses
the scope of the movies and the last-frontier quality
of the old Hollywood. Rather than condemning
Hollywood and the movies, rather than depicting
a crooked, vulgar, or cheap producer, Fitzgerald
portrays a heroic producer—a movie executive as
creative artist committed to raising the standards of
artistic taste in the industry. Perkins commented,
“It has the same old magic that Scott got into a sen¬
tence, or a paragraph, or a phrase. It has a kind of
wisdom in it, and nobody ever penetrated beneath
the surface of the movie world to any such degree”
(to John Biggs, March 4,1941; LOLT, p. lxxii).

138 Love of the Last Tycoon, The: A Western

Narration and Point of View
Fitzgerald had not perfected his narrative plan for
the novel when he died. Cecelia Brady, daughter of
producer Pat Brady, serves as the narrator. Fitzger¬
ald explained to Littauer: “By making Cecelia at the
moment of her telling the story, an intelligent and
observant woman, I shall grant myself the privilege,
as Conrad did, of letting her imagine the actions of
the characters. Thus, I hope to get the verisimili¬
tude of a first person narrative, combined with a
Godlike knowledge of all events that happen to my
characters” (September 29, 1939; Life in Letters, p.
410). Cecelia relates much of the story, sometimes
stipulating her sources, but she was to be allowed
greater flexibility than The Great Gatsby narrator
Nick Carraway, who witnesses or cites a source for
everything except Jay Gatsby’s murder.

In Episode 7, Cecelia prefaces her account of
Stahr working at the studio with this explanation:
“It is drawn partly from a paper I wrote in college on
‘A Producer’s Day’ and partly from my imagination.
More often I have blocked in the ordinary events
myself, while the stranger ones are true” (p. 28). In
Episode 12 she notes, “Prince Agge is my authority
for the luncheon in the commissary” and “Wylie
White told me a lot” (p. 67). But she describes
other events she did not see, such as Stahr and
Kathleen’s love scenes, without citing a source. In
fact, at the beginning of Episode 17, she states, “I
knew nothing about any of this” (p. 118).

The point of view shifts, with some of the mate¬
rial being presented by the authorial voice. Fitzger¬
ald’s notes for the novel indicate, “Cecelia does not
tell the story though I write it as if she does when¬
ever I can get the effect of looking out” (p. 153).
Twice Fitzgerald inserted awkward transitions—
possibly reminders to himself: “This is Cecelia tak¬
ing up the narrative in person” (p. 77) and “This
is Cecelia taking up the story” (p. 99). These were
working drafts of an incomplete novel; as Perkins
wrote to Zelda Fitzgerald, “Scott would have
found some way to obviate this difficulty” (January
29, 1941; LOLT, p. lxx). Fitzgerald also considered
a narrative frame in which Cecelia, a patient in a
tuberculosis sanitarium, tells the story to a fellow
patient who retells it to the reader. (See Appendix
1 in the Cambridge University Press edition.)

Influence of The Great Gatsby

That Fitzgerald had GG in mind as he planned
the narrative technique and structure for LOLT
is evident from an early note for Episode 29: “The
epilogue can model itself quite fairly on the last
part of Gatsby. We go back to Cecelia as a narrator
and have her tell it with the emphasis on herself
so that what she reveals about what happened to
her father, to the company, to Thalia [Kathleen]
seems to be revealed as if she was now a little weary
of the story, and told all she knew about it and was
returning to her own affairs” (p. lxv).

Fitzgerald told Collier’s editor Kenneth Littauer
that his new novel would be “more ‘like’ The Great
Gatsby than any other of my books” (September 29,
1939; Life in Letters, p. 412). On October 23, 1940,
Fitzgerald wrote to his wife, Zelda Fitzgerald: “I
am deep in the novel, living in it, and it makes me
happy. It is a constructed novel like Gatsby, with
passages of poetic prose when it fits the action, but
no ruminations or side-shows like Tender. Every¬
thing must contribute to the dramatic movement”
(Life in Letters, p. 467).

Structure and Composition

Fitzgerald’s final chart for the novel includes nine
chapters. As in the nine-chapter GG, the fulcrum
comes in the fifth chapter; a note after the crucial
Episode 14 indicates “DEAD MIDDLE” (p. xlvi).
The chapters are divided into 30 episodes. In the
surviving manuscripts of the working draft, only
Chapter 1 is designated as a chapter; the other seg¬
ments are merely episodes. This process of compo¬
sition reflects the influence of screenwriting on the
novel, since movies are written in scenes.

The latest outline projects a length of 51,000
words—similar to GG. The first 17 episodes that
Fitzgerald wrote before his death total 44,000
words, but he was only a little more than half fin¬
ished. The completed novel would thus have been
considerably longer than his projection, unless
he had done a great deal of cutting, which is not
needed. His secretary, Frances Kroll, told Matthew
Bruccoli that “the outline was not final; it was a
guide for Fitzgerald so that he could interrupt work
on the novel for screenwriting assignments” (p.
lviii). It is not certain how the remaining episodes

Love of the Last Tycoon, The: A Western 139

would have evolved through Fitzgerald’s custom¬
ary process of composition, revision, and rewriting
through multiple drafts.

After his November 1940 heart attack, Fitzger¬
ald stopped trying to polish as he wrote but focused
instead on completing a full working draft, per¬
haps so that he could receive an advance. Even
the already revised episodes would have undergone
additional revision or rewriting, as Fitzgerald noted
at the top of the latest revised typescript for Chap¬
ter 1: “Rewrite from mood. Has become stilted
with rewriting. Don’t look—rewrite from mood”
(p. 336).

In 1936, when Fitzgerald was contemplating a
revision of Tender Is the Night, he wrote to Bennett
Cerf, “Sometimes by a single word change one can
throw a new emphasis or give a new value to the
exact same scene or setting” (August 13, 1936;
Life in Letters, pp. 306-7). The power of small
revisions is obvious even in the working drafts of
LOLT. For example, Fitzgerald’s 1939 proposal
to Littauer indicates that Stahr finds Kathleen
and her friend “stranded on the roof of a property
farmhouse” (Life in Letters, p. 409), which has
no particular significance. In the working draft
for Episode 6, however, the women are floating
on a movie-prop head of the Hindu god Siva,
who represents destruction and restorative power.
Kathleen offers Stahr a chance to restore his life,
but Fitzgerald’s plan for the unwritten episodes
also indicates that she would inadvertently bring
about his destruction.

Fitzgerald made a powerful one-word revision in
the manuscript for Section 14, where Stahr takes
Kathleen to see his unfinished beach house in
Malibu. First he described Stahr’s house as a “skel¬
eton” and then crossed it out and wrote “fuselage”
(p. 81). This small but significant change indicates
that Stahr’s house is built for flight and comple¬
ments the other images of flight associated with
Stahr throughout the novel, which opens with an
airplane flight and was planned to conclude with
an airplane crash. His name suggests the stars in
the sky and reflects MGM’s slogan at that time,
“More stars than there are in the heavens.” At the
end of Chapter 1, as the airplane returns Stahr to
California, Fitzgerald connects him with the myth¬

ological figure of Daedalus, who crafted wings to
escape prison.

He had flown up very high to see, on strong
wings when he was young. And while he was
up there he had looked on all the kingdoms,
with the kind of eyes that can stare straight into
the sun. Beating his wings tenaciously—finally
frantically—and keeping on beating them he
had stayed up there longer than most of us,
and then, remembering all he had seen from his
great height of how things were, he had settled
gradually to earth.

.. . This was where Stahr had come back
to earth after that extraordinary illuminating
flight where he saw which way we were going,
and how we looked doing it, and how much of
it mattered. You could say that this was where
an accidental wind blew him but I don’t think
so. I would rather think that in a “long shot”
he saw a new way of measuring our jerky hopes
and graceful rogueries and awkward sorrows,
and that he came here from choice to be with
us to the end. (pp. 20-21)

“Our jerky hopes and graceful rogueries and
awkward sorrows” bears the Fitzgerald trademark
of unusual and striking juxtapositions of adjectives
and nouns.

The Character of Stahr

Fitzgerald portrays Stahr as a heroic figure, com¬
paring him to an emperor, prince, and king, and
associating him with great American leaders by ref¬
erences to presidents throughout the novel. Stahr
“was a marker in industry like Edison and Lumiere
and Griffith and Chaplin. He led pictures way up
past the range and power of the theatre, reaching
a sort of golden age before the censorship in 1933”
(p. 28). Stahr sees himself as “the unity” that holds
the whole process together. Stahr is Fitzgerald’s
only true hero—the only protagonist who achieves
his aspirations.

Stahr is also noteworthy as a heroic business¬
man—a rare figure in American literature. Fitzger¬
ald demonstrates the connection between character
and work. A note for an unwritten scene in which
Stahr’s doctor orders him to quit work is revealing:

140 Love of the Last Tycoon, The: A Western

The idea fills Stahr with a horror that I must
write a big scene to bring off. Such a scene as has
never been written. The scene that to Stahr is
the equivalent to that of an amorous man being
told that he is about to be castrated. In other
words, the words of the doctor fill Stahr with a
horror that I must be able to convey to the laziest
reader—the blow to Stahr and the utter unwill¬
ingness to admit that at this point, 35 years old,
his body should refuse to serve him and carry on
these plans which he has built up like a pyramid
of fairy skyscrapers in his imagination, (p. 181)

The phrase “fairy skyscrapers” brilliantly con¬
nects the sense of romance, aspiration, and
imagination (fairy) with the realities of business
(skyscrapers).

Fitzgerald wrote in his notes for the novel, “I am
the last of the novelists for a long time now” (Note¬
books, #2001). This conception of himself may
be illuminated by the character of Stahr, the last
tycoon, a self-made man who represents integrity,
honor, courage, and responsibility and who shares
Fitzgerald’s allegiance to traditional American ide¬
als. Matthew J. Bruccoli writes, “Sensing that the
politics of the Thirties and the impending world
war would terminate the romantic reactions to life
that had inspired his fiction, Fitzgerald saw himself
as the last of a certain kind of novelist writing about
the last of the old American heroes. Nurturing a
heroic sense of American character, he found his
essential American figure in his last novel” (Some
Sort of Epic Grandeur, p. 554).

Fitzgerald’s sense of America is revealed in the
following comment: “I look out at it—and I think
it is the most beautiful history in the world. It is the
history of me and of my people. And if I came here
yesterday like Sheilah I should still think so. It is
the history of all aspiration—not just the American
dream but the human dream and if I came at the
end of it that too is a place in the line of the pio¬
neers” (Notebooks, #2037).

ADAPTATION

The novel was made into a film called The Last
Tycoon by Paramount in 1976. Harold Pinter wrote
the screenplay; Elia Kazan directed.

CHARACTERS

Agge, Prince Danish prince who visits the movie
studio. Based on a combination of Prince Aage of
Denmark (1887-1940) and Count Sigvard Berna-
dotte of Sweden (1907-2002).

See Gabrielle Winkel, “Fitzgerald’s Agge of Den¬
mark,” Fitzgerald/Hemingway Annual (1975),
pp. 131-132.

the American (unnamed) Man to whom Kath¬
leen Moore is engaged when she meets Monroe
Stahr and whom she marries. Fitzgerald’s notes for
the unwritten episodes of the novel indicate that
Pat Brady reveals Kathleen’s affair with Stahr to
her husband, identified in the notes as W. Bronson
Smith.

Baer, Doctor Bill Monroe Stahr’s doctor.

Boxley, George English novelist who struggles to
adjust to writing for the movies. Based on English
novelist Aldous Huxley (1894-1963), with whom
Fitzgerald worked on Madame Curie.

Brady, Cecelia Narrator of LT/LOLT. Pat Brady’s
daughter, a junior at Bennington College. She is
in love with Monroe Stahr. Based on Fitzgerald’s
daughter, SCOTTIE FITZGERALD, and Budd SCHUL-
BERG, with whom Fitzgerald worked on Winter
Carnival (1939) and whose father, B. P. Schulberg
(1892-1957), was the former head of production at
Paramount.

Fitzgerald wrote to Kenneth Littauer: “Cece¬
lia is the narrator because I think I know exactly
how such a person would react to my story. She is
of the movies but not in them. She probably was
bom the day ‘the Birth of a Nation’ was previewed
and Rudolf Valentino came to her fifth birthday
party. So she is, all at once, intelligent, cynical but
understanding and kindly toward the people, great
or small, who are of Hollywood” (September 29,
1939; Life in Letters, p. 409). But he admitted to
the editors of the Saturday Evening Post, “Though
she has adventures of her own she is not one of the
characters I am primarily interested in” (December
6, 1939; Life in Letters, p. 424).

Love of the Last Tycoon, The: A Western 141

Brady, Pat Movie producer and Monroe Stahr’s
treacherous partner. He is Cecelia Brady’s father.
Based on a combination of MGM executives
Louis B. Mayer (1885-1957) and Eddie Mannix
(18917-1963).

Brimmer Communist labor organizer whom
Cecelia Brady takes to meet Monroe Stahr. When
Stahr drunkenly attempts to beat him up, Brimmer
knocks Stahr down.

Broaca, John Movie director whose picture is
under discussion at the script conference. May be
based on FRANK BORZAGE, the director of Three
Comrades.

Davis, Minna Monroe Stahr’s dead wife, an
actress.

Dodd, Martha Has-been actress whom Cecelia
Brady befriends in order to gain information about
Kathleen Moore, who sat at the same table as Mar¬
tha at the screenwriters’ ball.

Doolan, Catherine Monroe Stahr’s secretary.

Filipino servant (unnamed) Monroe Stahr’s
servant, who gives Stahr the letter which Kathleen
Moore had dropped in Stahr’s car.

fisherman (unnamed) Black man whom Mon¬
roe Stahr and Kathleen Moore encounter on the
beach, gathering grunion. His comment that he
does not allow his children to go to the movies
because “There’s no profit” in them has a pro¬
found effect on Stahr, who changes his plans
regarding several upcoming movies. This philo¬
sophical character, who reads Ralph Waldo Emer¬
son (1803-82) and Rosicrucian literature, has
links to Beauty Boy in Fitzgerald’s story “Dearly
Beloved” (1969).

Flieshacker, Mort Company lawyer for the stu¬
dio. Fitzgerald’s notes for the unwritten episodes
indicate that Cecelia Brady was to have an affair
with Flieshacker after Monroe Stahr broke off his
relationship with her.

Kapper, Lee Art director who is present when
Monroe Stahr views the rushes.

Katie Catherine Doolan’s assistant. Rose Mel-
oney once refers to Doolan as “Katy,” causing pos¬
sible confusion.

La Borwits, Jaques An assistant producer. Based
on MGM producer Joseph L. Mankiewicz, whom
Fitzgerald blamed for ruining Three Comrades.

Leanbaum Studio executive.

Malone Policeman who puts Edna Smith and Kath¬
leen Moore off the studio lot after the earthquake.

the Man (unnamed) Former king whose mis¬
tress had been Kathleen Moore until she ran away
from him. His passion for educating her reflects
Fitzgerald’s “College of One” plan for educating
Sheilah Graham.

Marcus, Mr. Elderly studio executive.

Marquand, Mr. and Mrs. A husband-and-wife
team of writers who are upset when they discover
that they are not the only writers working on a par¬
ticular script. Possibly based on Albert and Fran¬
ces Goodrich Hackett. The Marquands’ name
was changed to “Tarleton” in the first edition of LT
because HAROLD OBER was concerned that readers
would think “Marquand” referred to writer John P.
Marquand (1893-1960).

Maude One of three secretaries in Pat Brady’s
outer office.

Meloney, Rose A writer who had been a friend
of Minna Davis and who is a friend of Cecelia
Brady. She arranges for Cecelia to have lunch
with Martha Dodd, who has met Kathleen Moore.
Rose Meloney may have been based on a combina¬
tion of screenwriter Bess Meredyth (18901-1969)
and writer DOROTHY PARKER. Her first name was
changed to “Jane” in the first edition of LT because
Harold Ober said “Rose Meloney” was the name of
a real person (who has not been identified).

142 Love of the Last Tycoon, The: A Western

Moore, Kathleen Irish girl who resembles
Minna Davis and with whom Monroe Stahr falls in
love. The former mistress of a king (“the man”),
she marries an American after her affair with
Stahr. Based on Sheilah Graham, Fitzgerald’s
companion in Hollywood. Fitzgerald was con¬
cerned about making Stahr’s attraction to Kath¬
leen convincing, as shown by his note: “Where
will the warmth come from in this. Why does
he think she’s warm. Warmer than the voice in
Farewell. My girls were all so warm and full of
promise. The sea at night. What can I do to
make it honest and different?” (F. Scott Fitzgerald
Manuscripts V, Part 1, p. 63).

Mother Cecelia Brady’s mother and Pat Brady’s
wife. It is unclear whether she is still living.

Peters, Birdy One of three secretaries in Pat
Brady’s outer office. Cecelia Brady finds her naked
in Brady’s office closet.

Popolous, Joe Greek-born theater owner. Prob¬
ably based on Spyros Skouras (1893-1971), head of
Twentieth Century-Fox.

Ridingwood, Red Director whom Monroe Stahr
replaces because he cannot handle the star actress
in his movie.

Rienmund, Joe A supervisor. May be based on
MGM producer Hunt STROMBERG, for whom Fitzger¬
ald worked.

Robinson (Robby) Troubleshooter whom Mon¬
roe Stahr calls in after the earthquake. Budd Schul-
berg has identified the source for this character
as Otto Lovering (1892-1968), the second-unit
head who went to DARTMOUTH for the location
filming of Winter Carnival (1939). Fitzgerald’s
early notes for the novel indicate that he consid¬
ered having Robinson have an affair with Kath¬
leen Moore and having him be Pat Brady’s agent
to murder Stahr.

Roderiguez, Mr. Impotent actor who comes to
Monroe Stahr for advice. Fitzgerald did not name

this character; the name Roderiguez was supplied
in the first printing of LT, presumably by editor
Edmund Wilson.

Schmiel, Rosemary One of three secretaries in
Pat Brady’s outer office.

Schwartze, Mannie Former head of a Holly¬
wood combine who warns Monroe Stahr on the
plane about his enemies and who shoots himself.

Smith, Edna Kathleen Moore’s friend whom Mon¬
roe Stahr initially mistakes for Kathleen because he
is confused about which woman was wearing a silver
belt with stars cut out of it.

Smith, Mr. Name by which Monroe Stahr identi¬
fies himself on the airplane in the first chapter.

Stahr, Monroe Based on MGM producer Irving
Thalberg. Pat Brady’s business partner, a Hol¬
lywood movie producer and self-made man, the
“boy wonder” of the industry. He suffers from
heart trouble and is working himself to death. As
a paternalistic employer who represents personal
responsibility, Stahr is under attack by commu¬
nists; as a creative artist who cares more about
the quality of pictures than their profit-making
potential, he is under attack by the money men
of his studio. A lonely man since the death of his
wife, actress Minna Davis, Stahr falls in love with
Kathleen Moore, who resembles Minna and whom
he first sees after an earthquake hits the movie
studio. However, he hesitates to commit himself to
Kathleen, and she marries the American to whom
she is engaged.

After Fitzgerald’s death, Zelda Fitzgerald wrote
to Maxwell Perkins an explanation of Fitzgerald’s
conception of Stahr: “The book was a story of
Irving Thalberg, as Scott may have told you. Those

"Luckless Santa Claus, A" 143

minds which so nearly control the direction of
public sentiment engaged Scott deeply. He wanted
to render tangible the indominatable constancy
of purpose and the driving necessity to achieve¬
ment and the capacity for judicious and dextrous
juggling of majesterous forces that distinguished
such men from others” (January 27, 1941; Charles
Scribner’s Sons Archives, PRINCETON UNIVERSITY
Library).

Swanson, Johnny Has-been cowboy actor. Based
on actor Harry Carey (18781-1947). Fitzgerald’s
plans for the unwritten episodes include a scene
at Stahr’s funeral, for which Swanson is mistak¬
enly asked to be a pallbearer, with the result that
his career is revived. This scene was based on
an anecdote about Irving Thalberg’s funeral, for
which Harry Carey was mistakenly invited to be
a pallbearer. Fitzgerald’s notes read: “Harry Cary
gets Cary Wilson’s invite. A new career,” but both
Harry Carey and writer Carey Wilson (1889-1962)
were pallbearers at Thalberg’s funeral.

Van Dyke, Mike Gag man who demonstrates a
slapstick routine for George Boxley. Based on gag
writer Robert Hopkins.

White, Wylie Screenwriter who demonstrates
romantic interest in Cecelia Brady in the hopes
that she will influence her father to advance his
career.

Zavras, Pete Greek cameraman who is falsely
rumored to have eye trouble and who breaks
his arm when he jumps from the balcony of
the administration building in a failed suicide
attempt. When Monroe Stahr squelches the
rumors about his eyesight, Zavras expresses his
gratitude by offering to help if Stahr ever needs
anyone’s throat cut. Fitzgerald’s notes for the
unwritten episodes indicate that Zavras was to
play an important role by warning Stahr of Pat
Brady’s plot against him.

This character’s name is “Pedro Garcia” in
Fitzgerald’s manuscripts, but Fitzgerald’s secretary

Frances Kroll recalls that he used the name as a
joke and intended to change it, as indicated by his
note “Change Garcia to a Greek.” Edmund Wilson
emended the name to Pete Zavras when he edited
the unfinished novel for publication.

FURTHER READING

Quotations are from The Love of the Last Tycoon:
A Western, edited by Matthew J. Bruccoli (Cam¬
bridge: Cambridge University Press, 1993).

Bruccoli, Matthew J. “The Last of the Novelists”: F.
Scott Fitzgerald and The Last Tycoon (Carbondale:
Southern Illinois University Press, 1977).
Fitzgerald, F. Scott. F. Scott Fitzgerald Manuscripts V:
LT: Manuscript and Revised Typescript for the First 1 7
Episodes, with the Author’s Plans and Notes. 3 vols.,
edited by Matthew J. Bruccoli (New York; London:
Garland, 1990-1991).

Martin, Robert A. “Fitzgerald’s Use of History in The
Last Tycoon." In F. Scott Fitzgerald: New Perspectives,
edited by Jackson R. Bryer, Alan Margolies, and
Ruth Prigozy (Athens: University of Georgia Press,
2000), 142-156.

Stern, Milton R. “The Last Tycoon and Fitzgerald’s
Last Style.” In F. Scott Fitzgerald in the Twenty-first
Century, edited by Jackson R. Bryer, Ruth Prigozy,
and Milton R. Stern (Tuscaloosa: University of
Alabama Press, 2003), 317-332.

“Luckless Santa Claus, A”

Fiction. The Newman News 9 (Christmas 1912),
1-7; Apprentice Fiction.

Dorothy Harmon challenges her fiance, Harry
Talbot, to give away $25 to strangers on Christ¬
mas Eve. Harry encounters great difficulties in
finding people to accept his money; finally, two
men beat him up. Dorothy is charmed by what
Harry did for her, but he leaves with the two men
who beat him up, whom he has invited home for
Christmas. This story marks the first appearance
of Fitzgerald’s theme of a man’s servitude to a
woman.

144 Madame Curie

CHARACTERS

Harmon, Dorothy Young woman who, on a
whim, challenges her fiance, Harry Talbot, to give
away $25 to strangers on Christmas Eve.

Talbot, Harry Young man whose fiancee, Doro¬
thy Harmon, challenges him to give away $25 to
strangers on Christmas Eve.

Madame Curie

MGM, 1943

Fitzgerald’s last MGM assignment, in November
1938, was writing Madame Curie for Greta Garbo
(1905-90). Aldous Huxley (1894-1963) had pre¬
pared a treatment, but he and Fitzgerald did not work
together. On January 3, 1939, Fitzgerald submitted a
74-page screenplay that went up to the Curies’ deci¬
sion to marry, but the project was shelved. (In 1943
Greer Garson [1903—96] starred in MGM’s Madame
Curie, directed by Mervyn Le Roy [1900-87], with
a screenplay by Paul Osborn [1901-88] and Paul
H. Rameau.) Fitzgerald later explained that he and
producer Sidney Franklin “were bucking [execu¬
tive producer] Bernie Hyman’s preconception of the
thing as a love story” (to Phil BERG-Bert Allenberg
Agency, February 23, 1940; Life in Letters, p. 435).
During work on the project, MGM declined to pick
up the second option on Fitzgerald’s contract, which
expired on January 27, 1939.

“Magnetism”

Fiction. Written December 1927. The SATURDAY
Evening Post 200 (March 3, 1928), 5-7, 74, 76,
78; Stories.

Actor George Hannaford’s wife, Kay Hannaford,
is jealous of his interest in actress Helen Avery. At
a party George sees Kay, who has drunk too much,
holding hands with writer-director Arthur Busch,
who has loved her for years. When the Hannafords
arrive home after the party, the brother of Marga¬
ret Donovan, the script girl at the studio, tries to

blackmail George for $50,000 on the basis of some
documents George had signed that afternoon with¬
out reading; Margaret had told him they were script
changes, but they were really love letters she had
drafted from him to her. The next morning George
refuses to talk with Kay and Busch about their situa¬
tion and goes for a car ride just to get away. He hap¬
pens to pass Margaret Donovan’s apartment, where
he stops to confront her about the letters. She tears
up the letters and tells George she has loved him for
years, and he leaves. When he returns home, Kay
expresses her indignation at the blackmail attempt
and confesses that she is not really interested in
Busch but had just been mad at George. They learn
that Margaret Donovan has tried to kill herself, and
George goes to the hospital to see her.

Fitzgerald recycled several passages from this
story for use in Tender Is the Night.

CHARACTERS

Avery, Helen Actress who is interested in George
Hannaford.

Becker, Gwen Girl who claims that George Han¬
naford spent the night with her. Her phone call is a
joke instigated by studio executive Pete Schroeder.

Busch, Arthur Continuity writer and director
who has loved Kay Hannaford for years and in
whom she briefly expresses interest to make her
husband, George Hannaford, jealous.

Castle, Mr. George Hannaford’s lawyer, whom
he consults about Margaret Donovan’s blackmail
attempt.

Davis, Katherine Hostess of the party at which
Kay Hannaford drinks too much and expresses
interest in Arthur Busch in order to make her hus¬
band, George Hannaford, jealous.

Dolores George and Kay Hannaford’s Mexican
maid, who is attracted to George.

Donovan Margaret Donovan’s brother, an ex¬
convict who helped her plan the blackmail scheme
against George Hannaford.

'Man in the Way, A" 145

Donovan, Margaret Script girl who has been in
love with George Hannaford for years and who tries
to kill herself after backing down from her attempt
to blackmail him.

Hannaford, George Actor whose wife, Kay
Hannaford, is jealous of his interest in actress
Helen Avery and who is blackmailed by script girl
Margaret Donovan.

Hannaford, Kay Tompkins George Hannaford’s
wife, an actress. She expresses interest in Arthur
Busch in retaliation for George’s interest in Helen
Avery.

Rennard, Jules George Hannaford’s best friend,
with whom he plans a fishing trip.

Schroeder, Pete Studio executive who, as a joke,
has Gwen Becker call George Hannaford and claim
that he spent the night with her.

“Majesty”

Fiction. Written May 1929. The Saturday Eve¬
ning Post 202 (July 13, 1929), 6-7, 57-58, 61-62;
Taps at Reveille.

At age 24, wealthy Emily Casdeton, aware that
most of her friends are married, consents to marry
William Brevoort Blair. An elaborate society wed¬
ding is planned, but just before the ceremony Emily
shares her sadness with her cousin, Olive Mercy,
who is secretly in love with Brevoort. Emily leaves
Brevoort at the altar, causing a scandal, and he asks
Olive to marry him. Emily runs away to EUROPE,
where she becomes involved with Prince Gabriel Pet-
rocobesco, a man whom her father’s agent describes
as “a dissipated ne’er-do-well.” Mr. Casdeton sends
Brevoort and Olive to Europe to bring Emily home.
They find her with Petrocobesco in a dirty room
in Czjeck-Hansa, a tiny Middle-European country
with rich magnesium deposits. While the Blairs are
there, Petrocobesco receives word that the national
assembly has voted him king, as he is next in line
for the crown, and Emily agrees to marry him. Two

years later the Blairs watch Emily, now a queen, and
her husband in a royal procession in LONDON. Olive
cannot help but admire her cousin’s achievement.

CHARACTERS

Blair, William Brevoort Emily Castleton’s aban¬
doned fiance, whom Olive Mercy marries.

Castleton, Emily Headstrong American heiress
who leaves her socially acceptable fiance, Brevoort
Blair, at the altar and later marries Prince Gabriel
Petrocobesco, the claimant to the throne of a tiny
Middle-European kingdom.

Castleton, Harold, J r. Emily Castleton’s brother,
who shocks Olive Mercy by encouraging music,
dancing, and drinking for his friends after Emily’s
canceled wedding.

Castleton, Harold, Sr. Emily Castleton’s father,
who is distressed by her abandonment of Brevoort
Blair at the altar.

Hal lam Harold Castleton, Sr.’s agent in Europe,
who reveals Emily Castleton’s attachment to Prince
Petrocobesco.

Mercy, Olive Emily Castleton’s poor cousin, who
marries Brevoort Blair when Emily leaves him at the
altar.

Petrocobesco, Prince Gabriel (Tutu) Disrepu¬
table claimant to the throne of a Middle European
kingdom who marries Emily Castleton after he is
given the title of king.

“Make Yourself at Home”

See “Strange Sanctuary.”

“Man in the Way, A”

Fiction—Pat Hobby story. Submitted September
16, 1939. Esquire 13 (February 1940), 40, 109;
The Pat Hobby Stories.

146 "Marching Streets"

Pat Hobby pitches Priscilla Smith’s idea about
an old painter to producer Jack Berners as his own,
and Berners puts him on the payroll. Later Smith
reveals the idea to Berners as her own.

CHARACTERS

Bach, Mr. Pat Hobby’s old friend who is in Jack
Bemers’s office when Hobby enters.

Berners, Jack Hollywood producer who
occasionally hires Pat Hobby. This character also
appears in “A Man in the Way,” “Teamed with
Genius,” “Pat Hobby, Putative Father,” “Pat Hobby
Does His Bit,” “Pat Hobby’s Preview,” “A Patriotic
Short,” and “On the Trail of Pat Hobby.”

Costello, Bill Pat Hobby’s old friend who is in
Jack Berners’s office when Hobby enters.

Griebel, Louie The studio bookie. This charac¬
ter also appears in “Teamed with Genius,” “Pat
Hobby and Orson Welles,” “Pat Hobby’s Secret,”
“Pat Hobby Does His Bit,” “No Harm Trying,” “On
the Trail of Pat Hobby,” “Pat Hobby’s Preview,”
and “Pat Hobby’s College Days.”

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Smith, Priscilla Hollywood writer whose idea is
stolen by Pat Hobby.

“Marching Streets”

Verse. The Nassau Literary Magazine 74 (February
1919), 103-104; InHis Own Time; Poems. Included in
A Book of Princeton Verse n. Fitzgerald’s revisions
of this poem in his copy are facsimiled in FITZGERALD/

Hemingway Annual (1979), pp. 28-29.

“‘Margey Wins the Game’”

Review of Margey Wins the Game by John V. A.
Weaver (1893-1938). New York Tribune, May 7,
1922, section 4, p. 7; In His Own Time.

After imitating Weaver’s “semi-dialect prose”
style, Fitzgerald describes this novel as “a highly
amusing, swiftly moving tale of the jazz-nourished
generation” ( InHis Own Time, p. 133).

Marie Antoinette

MGM, 1938

In May 1938 Fitzgerald worked briefly on Marie
Antoinette, a former project of IRVING Thalberg, for
MGM producer Sidney Franklin. The movie was
released with screenplay by Claudine West (1884?—
1943), Donald Ogden Stewart, and Ernest
Vajda (1887-1954); directed by W. S. Van Dyke
(1889-1943) and produced by Hunt Stromberg.

“Martin’s Thoughts”

Poem. Fitzgerald Newsletter 13 (Spring 1961), 1;
Poems.

Thoughts of the girls liked by Martin Amorous,
Fitzgerald’s classmate at the Newman SCHOOL.

“May Day”

Fiction. Written March 1920. The SMART Set 62
(July 1920), 3-32; Tales of the Jazz Age; The Last
Tycoon.

On May 1, 1919, Gordon Sterrett, a Yale gradu¬
ate and failed artist, asks his wealthy classmate,
Philip Dean, for $300 because his lower-class girl¬
friend, Jewel Hudson, is blackmailing him. Dean,
repelled by his friend’s deterioration, refuses the
loan but gives him $80. Two recently discharged
soldiers, Carrol Key and Gus Rose, briefly join an
antisocialist demonstration but slip away to get
liquor from Carrol’s brother, George Key, a waiter
at Delmonico’s, where the Yale fraternity Gamma
Psi is hosting a dance. At the dance Gordon
encounters his former girlfriend, Edith Bradin, who
has been falling in love with her memory of him
until she sees him drunk and forlorn at the dance.

'May Day" 147

Peter Himmel, Edith’s date whom she has rebuffed
for his attempt to kiss her, gets drunk with Key and
Rose, who are hiding in a side room. Jewel tracks
Gordon down at Delmonico’s and makes him leave
with her. Edith slips away from the dance to visit
her brother, Henry Bradin, at the office of the radi¬
cal newspaper for which he writes. While she is
there, a crowd of antisocialist soldiers—including
Key and Rose—attacks the office. Key falls out of a
window to his death, and Henry Bradin’s leg is bro¬
ken. Rose, Dean, Himmel, Sterrett, and Jewel all
end up at Childs’ restaurant in the early morning
hours of May 2. Dean shakes his finger condemn-
ingly at Sterrett and Jewel, who leave. Dean and
Himmel, who are both drunk, leave together to
retrieve Himmel’s coat from Delmonico’s, where
they appropriate signs reading “In” and “Out” from
the coatroom doors and place them in their vests,
labeling themselves “Mister In” and “Mister Out.”
After being refused a second bottle of champagne
for breakfast at Delmonico’s, they proceed to the
Biltmore Hotel, where they see Edith, who spots
Gus Rose and identifies him as the man who broke
her brother’s leg. Gordon Sterrett wakes with a
hangover in a hotel room and realizes that he is
married to Jewel. He purchases a revolver and kills
himself.

CRITICAL COMMENTARY

“May Day” is often classified as a novella or nov¬
elette—shorter than a novel, but longer than a
short story, with more complex action and plot
development than a story permits. Fitzgerald’s
other works sometimes called novellas are “The
Diamond as Big as the Ritz” and “The Rich Boy.”
Fitzgerald wrote “May Day” in the first year of
his career as a professional writer, and it demon¬
strates the technical advances he achieved during
that time.

The quasi-biblical preamble suggests the time¬
less connections among postwar cultures, but it
also introduces a sense of irony at the beginning
of a story where things are not always what they
seem. The writing is so overblown and self-con¬
sciously rhetorical that it is almost a parody of
postwar exuberance. Fitzgerald piles on the cel¬
ebratory words: conquering, triumphal, vivid, joy¬

ous, splendor, victorious, plenty, luscious, lavish,
gaily, noisily, peace, prosperity, excitement, jauntily,
exulted (pp. 97-98). More than a decade later, in
his essay “My Lost City,” Fitzgerald captures the
essence of 1919 New York in the single word iri¬
descence: “New York had all the iridescence of the
beginning of the world. . . . This was the greatest
nation and there was gala in the air” (The Crack-
Up, p. 25).

Fitzgerald also uses the preamble to instruct
the reader to pay attention to what he is doing:
“So during all this time there were many adven¬
tures that happened in the great city, and, of these,
several—or perhaps one—are here set down” (p.
98). The story is divided into eleven sections, and
though the early sections seem to focus on unre¬
lated characters and events, as the plot progresses,
more connections twine them together.

The title, “May Day,” and the date, May 1,
1919, add layers of meaning to the story. May Day
is the historic time for celebrating the end of winter
and beginning of spring, the time of growth, with
the crowning of a May Queen and dancing around
a Maypole. “May Day” is also an international dis¬
tress signal. Most significant, the first day of May is
a socialist and labor holiday, celebrating the Rus¬
sian Revolution and demonstrating international
worker solidarity.

Fitzgerald sets his exploration of class conflict
and economic pressures in the details of time,
place, and historical events. On May 1, 1919,
crowds of soldiers and sailors attacked political
demonstrations in New York and other U.S. cities
and broke into the office of The Call, a social¬
ist newspaper. In a May 1931 letter to MAXWELL
Perkins (Scott/Max, p. 171) and in “Echoes of
the Jazz Age,” Fitzgerald indicated that the Jazz
Age began with the suppression of the May Day
riots “when the police rode down the demobilized
country boys gaping at the orators in Madison
Square” (CD, p. 13).

Fitzgerald incorporated personal as well as social
history into “May Day,” as he acknowledged in
the annotated Table of Contents for TJA. Gordon
Sterrett’s experiences reflect Fitzgerald’s own misery
when he was living in New York in the spring of
1919, failing to sell his stories and worrying about

148 "May Day"

losing his girl. Like Sterrett, Fitzgerald felt the finan¬
cial gap dividing him from his wealthy friends. In
“My Lost City,” he speaks of the contrast between
the parties he attended and “my other life ... my
shabby suits, my poverty, and love” (CU, p. 25). A
similar contrast between Phil Dean’s comfortable
affluence and Gordon Sterrett’s despairing poverty
is highlighted in their response to the noon crowd in
postwar New York: “To Dean the struggle was sig¬
nificant, young, cheerful; to Gordon it was dismal,
meaningless, endless” (p. 104).

“May Day” exhibits the influence of natural¬
ism, a literary movement emphasizing that human
behavior is determined by forces beyond the con¬
trol of the characters, primarily environment and
heredity. As a young writer, Fitzgerald was seeking
literary models, and he was exposed to naturalism
through the writings of Frank NORRIS who, he told
Perkins, had changed his point of view (February 3,
1920; Scott/Max, p. 28).

Like Fitzgerald’s naturalistic novel, The Beautiful
and Damned, “May Day” is concerned with char¬
acter deterioration. The decline of Gordon Ster¬
rett from despair to suicide is a steady, downward
progression. He is weak, unable to resist pressure,
and unwilling to put forth the effort to succeed.
When Gordon first sees Phil Dean, he is “helpless
and pathetic”; he speaks “miserably” and tells Phil
“I’ve absolutely gone to pieces, Phil. I’m all in” (p.
100). He explains that after returning from France,
he got a job with an export company but was fired
the previous day because of his involvement with
Jewel—which he attributes to postwar celebra¬
tions. He “always intended to draw” (p. 101), but
he whines about not being able to afford art school.
In a characteristic Fitzgerald intertwining of mor¬
als and money, Phil describes Gordon as “sort of
bankrupt—morally as well as financially” (p. 102).
Gordon admits that his situation is his own fault,
yet he continues to whine about his lack of money.
Distressed by Phil’s refusal to lend him as much
money as he asked for, Gordon deals with his prob¬
lems by drinking, even though he knows he will
see his old flame Edith at the dance that evening.
His intoxicated self-pity repulses her and destroys
his chances for a reunion with her—a reunion she
had been dreamily anticipating. The metaphor he

offers Edith suggests the inevitable progression of
his decline: “Things have been snapping inside me
for four months like little hooks on a dress, and it’s
about to come off when a few more hooks go” (p.
118).

As is the case in much of Fitzgerald’s best work,
“May Day” ultimately becomes a critique of the
American dream. In an admired passage in Sec¬
tion IX, Fitzgerald describes the intense blue of the
dawn in Columbus Circle—“magical, breathless
dawn, silhouetting the great statue of the immortal
Christopher” (p. 135). Christopher Columbus, dis¬
coverer of the New World, symbolizes the hopes,
dreams, ideals, freedom, and opportunity that
America represents. Such ideals stand in ironic
contrast to the drunk rich boys who are thrown
out of the restaurant and who parade around fool¬
ishly as Mr. In and Mr. Out; the self-indulgent,
irresponsible rich people at the dance; the inept,
animal-like Rose and Key; the mindless mob; and
the hopeless suicide of Gordon Sterrett.

Fitzgerald revised “May Day” heavily between
periodical and book publication, tightening his
prose and improving his depiction of characters.
The most significant change was in the ending:
in the Smart Set version, Sterrett’s suicide is only
implied, but in Tales of the Jazz Age, it is depicted.

CHARACTERS

Bartholomew Fat man who works on a radical
newspaper with Henry Bradin.

Bradin, Edith Gordon Sterrett’s former girl¬
friend, who thinks she would like to revive their
relationship until she sees him drunk and pitiful at
the Gamma Psi dance.

Bradin, Henry Edith Bradin’s brother, a socialist
and pacifist who writes for a radical newspaper. His
leg is broken when a mob invades the newspaper
office.

Dean, Philip Gordon Sterrett’s Yale classmate
who refuses to lend him $300 but gives him $80.
After the Gamma Psi dance, he gets drunk and
goes around with Peter Himmel as “Mr. In” and
“Mr. Out.”

"Millionaire's Girl, A" 149

Himmel, Peter Yale undergraduate who escorts
Edith Bradin to the Gamma Psi dance, gets drunk,
and goes around with Philip Dean as “Mr. In” and
“Mr. Out.”

Hudson, Jewel Lower-class girl who is blackmail¬
ing Gordon Sterrett and who marries him while he
is drunk.

Key, Carrol Gus Rose’s friend, a recently dis¬
charged soldier.

Key, George Carrol Key’s brother, a waiter at
Delmonico’s.

Rose, Gus Carrol Key’s friend, a recently dis¬
charged soldier.

Sterrett, Gordon Failed artist who asks his friend
Philip Dean for money to pay off his blackmailing
girlfriend, Jewel Hudson. He gets drunk, wakes up
married to Jewel, and shoots himself.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

Cass, Colin. “Fitzgerald’s Second Thoughts about
‘May Day,”’ F itzgerald/Hemingway Annual (1970),
69-95.

Perlis, Alan. “The Narrative Is All: A Study of F. Scott
Fitzgerald’s ‘May Day,”’ Western Humanities Review
33 (Winter 1979), 65-72.

Tuttleton, James W. “Seeing Slightly Red: F’s ‘May
Day.’” In The Short Stories of F. Scott Fitzgerald: New
Approaches in Criticism, edited by Jackson R. Bryer
(Madison: University of Wisconsin Press, 1982),
181-197.

“Mightier Than the Sword”

Fiction—Pat Hobby story. Submitted December
25, 1939. Esquire 15 (April 1941), 36, 183; The
Pat Hobby Stories.

Director Dick Dale dismisses writer E. Brunswick
Hudson and hires Pat Hobby to work on a script
about composer Reginald de Koven (1861-1920).
When Dale and Pat’s script is rejected, Dale again
asks Hudson if he still has his own script about de
Koven, but Hudson, who has already been given
another job at the studio and is working in Pat’s old
office, refuses to help. Dale’s script girl, Mable Hat-
man, finds Hudson’s script, and Dale plans to put
her name on it. Pat, whom Dale has fired, sympa¬
thizes with Hudson and tells him that HOLLYWOOD
wants writers, not authors.

CHARACTERS

Dale, Dick Movie director who hires Pat Hobby
to work on a script about composer Reginald de
Koven (1861-1920).

Hatman, Mable Dick Dale’s script girl, who
finds E. Brunswick Hudson’s script. When Hudson
refuses to have his name used, Dale decides to put
Mable’s name on it since he has been promising her
a screen credit.

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Hudson, E. Brunswick Writer from the East
who has difficulty adapting to screenwriting in
Hollywood.

“Millionaire’s Girl, A”

Fiction by Zelda Fitzgerald. The SATURDAY EVE¬
NING Post 202 (May 31, 1930), 8-9, 118, 121; Bits
of Paradise; Zelda Fitzgerald: The Collected Writings.
Bylined “F. Scott Fitzgerald” but credited to Zelda
in Ledger.

The publication of this story under Fitzgerald’s
name was the responsibility of his agent, Harold
Ober (see March 14, 1930; As Ever, p. 166).

Caroline and wealthy Barry break their engage¬
ment after she accepts a check and a car from his
father, presumably for giving up Barry. She goes to
HOLLYWOOD to seek success so that she can win

150 "Minnesota's Capital in the Role of Main Street"

him back. On the night of her successful movie
debut, she attempts suicide when she learns of Bar¬
ry’s engagement to an heiress, and he leaves his
fiancee to marry Caroline.

“Minnesota’s Capital in the
Role of Main Street”

Review of Being Respectable by Grace Flandrau
(1886-1971). The Literary Digest International Book
Review 1 (March 1923), 35-36; In His Own Time.

Fitzgerald criticizes the novel for being “clumsy
in its handling of an enormous quantity of mate¬
rial” (In His Own Time, p. 140) and for dealing
with too many characters without one to draw the
whole book together; but he praises it as “thor¬
oughly interesting and capable” (p. 142).

“Miss Ella”

Fiction by Z f.i. da Fitzgerald. Scribner’s Maga¬
zine 90 (December 1931), 661-665; Bits of Para¬
dise; Z elda Fitzgerald: The Collected Writings.

In her youth, Miss Ella, now an “essentially Vic¬
torian” spinster, had broken her engagement to Mr.
Hendrix when she fell in love with Andy Bronson.
On the day she was to marry Bronson, Hendrix
shot himself in her garden.

“Mister Icky The
Quintessence of Quaintness
in One Act”

Humorous play. Written November 1919. The
Smart Set 61 (March 1920), 93-98; Tales of the
Jazz Age.

Young Peter is talking with Mr. Icky, a reformed
arsonist. Rodney Divine appears in search of Ulsa
Icky, whom he wishes to marry. Ulsa returns from

LONDON; she and Divine argue but are reconciled.
Charles Icky wants to go to sea, and the other
Icky children—crying “Life” and “Jazz”—prepare
to leave their father. Mr. Icky lies down on the
steps of his cottage and dies.

Fitzgerald noted in his Ledger that his 1916 NAS¬
SAU Literary Magazine parody “The Usual Thing”
was a source for this play.

CHARACTERS

Divine, Rodney Wealthy young man who wants
to marry Ulsa Icky.

Icky, Charles Mr. Icky’s son who is going to sea.

Icky, Mr. Old man and reformed arsonist who
was given the glands of a young prisoner who was
executed. His many children leave him.

Icky, Ulsa Mr. Icky’s daughter who went to Lon¬
don to be a typist.

Peter Little boy who places a mothball on Mr.
Icky’s corpse.

“More Than Just a House”

Fiction. Written April 1933. The SATURDAY EVE¬
NING Post 205 (June 24, 1933), 8-9, 27, 30, 34;
The Price Was High.

Lew Lowrie becomes acquainted with the Gun¬
ther family in 1925 when he pulls Amanda Gun¬
ther out of the path of a train. When he later
asks Amanda to marry him, she reveals that she
has just become engaged to George Horton. Four
years later he encounters Jean Gunther at a party
in New York. When he goes to her home to visit
her, he learns that Mr. Gunther is suffering from
senile dementia and that Bess Gunther is primar¬
ily responsible for his care. While he is there, the
family receives the news that Amanda has died in
childbirth. Four years later he returns to the house
to find that Jean has married and lives in China,
and Bess tells him that she will be married her-

'My Generation" 151

self next week. However, he learns that she is not
engaged and is in desperate financial straits, and he
asks her to marry him. Throughout the story the
girls’ feelings about the house symbolize the gradual
decline of their family.

CHARACTERS

Bourne, Mark H. Man who takes away the Gun¬
thers’ mortgaged possessions.

Gunther, Amanda Girl whom Lew Lowrie saves
from being run over by a train and with whom he
falls in love. She marries George Horton and four
years later dies in childbirth.

Gunther, Bess The youngest of the Gunther
girls. Lew Lowrie proposes to her when he finds her
alone and penniless eight years after he first meets
the family.

Gunther, Jean The Gunther girl whom Lew
Lowrie encounters at a New York party and who
calls herself “the child of the century” (p. 722).
She later marries and moves to China. In a letter
of praise for the story, JOHN O’HARA described her
to Fitzgerald as “one of those girls for the writing
about of whom you hold the exclusive franchise”
(Selected Letters of John O’Hara, edited by Mat¬
thew J. BRUCCOLI [New York: Random House,
1978], pp. 75-76).

Gunther, Mr. Amanda, Jean, and Bess Gunther’s
father, who suffers from senile dementia and wor¬
ries about $20 he borrowed in 1892. He dies a
year before Lew Lowrie’s third visit to the Gunther
home.

Gunther, Mrs. Amanda, Jean, and Bess Gun¬
ther’s mother, who insists that Amanda invite Lew
Lowrie to her dance after he saves her life. She dies
between Lew’s first and second visits to the Gun¬
ther home.

Horton, George Man whom Amanda Gunther
marries.

Lowrie, Lewis (Lew) Young man on his way up
socially when he meets the Gunther family.

Parks, Allen Man with whom Lew Lowrie over¬
hears Jean Gunther talking about going to New
York.

William The Gunthers’ butler, who escapes unin¬
jured when a tree falls on his room during a storm.

“Most Disgraceful Thing
I Ever Did, The: 2. The
Invasion of the Sanctuary”

Humor article. Vanity Fair 21 (October 1923), 53;
In His Own Time.

One of 10 unsigned articles on the same topic
by different authors; readers who identified the
authors won prizes. Fitzgerald recalls that dur¬
ing his Christmas vacation in St. Paul in 1913,
he went to a church on Christmas Eve after
getting tight and walked up the aisle looking for
a friend to sit with, telling the minister, “Don’t
mind me ... go on with the sermon” (In His
Own Time, p. 234).

“My First Love”

Verse. The Nassau Literary MAGAZINE 74 (Febru¬
ary 1919), 102; In His Own Time; Poems. Included
in A Book of Princeton Verse a.

“My Generation”

Essay. Esquire 70 (October 1968), 119, 121, 123;
Profile ofF. Scott Fitzgerald.

Fitzgerald notes that the America into which
he was born “passed away somewhere between
1910 and 1920; and the fact gives my generation

152 "My Lost City'

its uniqueness—we are at once prewar and post¬
war” (Esquire, p. 121). His generation “inherited
two worlds—the one of hope to which we had been
bred; the one of disillusion which we had discov¬
ered early for ourselves” (p. 121). He discusses the
heroes, composers, writers, critics, and playwrights
of his generation and notes the future writers and
leaders whom he had known at the Newman
School and at Princeton.

“My Lost City”

Essay. Written in late 1935 or early January 1936.
The Crack-Up.

Account of the changes in Fitzgerald’s feelings
for New York City, from his early symbols of tri¬
umph and romance to a profound sense of loss:
“I can only cry out that I have lost my splendid
mirage. Come back, come back, O glittering and
white!” (CU, p. 33).

“My Old New England
Homestead on the Erie”

Parody. COLLEGE Humor 6 (August 1925), 18-19.
Humorous account of renovating “the house of our
dreams” by replacing all the modernized parts with
antique structures and furnishings.

“Myra Meets His Family”

Fiction. Written December 1919. The SATURDAY
Evening Post 192 (March 20, 1920), 40, 42, 44,
46, 49-50, 53; The Price Was High. Rewritten from
an abandoned story, “Lilah Meets His Family,”
which was written in April 1919.

Myra Harper, at age 21, has grown tired of
prom-trotting and decides to find a husband. She
becomes engaged to wealthy Knowleton Whitney
but is shocked by his family’s eccentricity during

her visit to their home. She faints when Knowleton
tells her that his great-grandmother is Chinese.
When Myra awakens, she overhears Knowleton
talking with Warren Appleton and Kelly, two
actors who have been posing as his parents. She
discovers that everything that has happened dur¬
ing her visit has been part of a plot to scare her
away, since Knowleton thought she was just after
his money. Later, feeling guilty, Knowleton con¬
fesses the plot but tells her that he is now in love
with her. She agrees to marry him that day and
arranges for her cousin, Walter Gregory, to perform
the ceremony. On the way to their honeymoon,
Myra leaves Knowleton on the train and rejoins
her cousin, who is not really a minister, saying that
she is letting Knowleton get off far too easily.

Fitzgerald told Harold Ober that he had never
liked this story and did not intend to republish it
in book form (November 29, 1921; As Ever, p. 30).
It was made into a movie (retitled The Husband
Hunter )—now lost—in 1920.

CHARACTERS

Appleton, Warren Actor who poses as Knowl¬
eton Whitney’s father, Ludlow Whitney.

Elkins, Mrs. Arthur (Lilah) Former school room¬
mate with whom Myra Harper discusses her desire
to get married.

Gregory, Walter Myra Harper’s cousin, who
poses as a minister to perform a sham marriage cer¬
emony for her and Knowleton Whitney.

Harper, Myra Popular girl who wishes to get
married now that she is 21 and is tiring of her
social life.

Kelly Actor who poses as Knowleton Whitney’s
mother. He came up with the details of the plot to
scare away Myra Harper.

Whitney, Knowleton Wealthy young man who
arranges an elaborate scheme to scare away his
fiancee, Myra Harper, who he thinks is only after
his money.

'My Ten Favorite Plays" 153

“Mystery of the Raymond
Mortgage, The”

Fiction. Written June 1909. The St. Paul Academy
Now AND Then 2 (October 1909), 4-8; limited
edition of 750 copies (New York: Random House,
1960) distributed on September 2, 1960, by Ran¬
dom House to promote Ellery Queen’s 15th Mys¬
tery Annual (New York: Random House, 1960), in
which the story appeared; Apprentice Fiction.

Chief of police Egan tells how reporter John
Syrel solves the murder of Agnes Raymond, which
baffled the police. Syrel discovers that Raymond
family servant John Standish shot Agnes Raymond,
who did not return his love and that Mrs. Raymond
then shot Standish and fled town with the assis¬
tance of a young man whom Agnes Raymond had
loved. When Syrel tracks down Mrs. Raymond, she
takes poison and dies.

Fitzgerald recalled his excitement over the pub¬
lication of this story, his first appearance in print: “I
read my story through at least sic times, and all day
I loitered in the corridors and counted the number
of men who were reading it, and tried to ask people
casually, ‘If they had read it’?” (“The Romantic
Egotist,” Chapter I, p. 21; PRINCETON UNIVERSITY
Library).

CHARACTERS

Egan, Mr. Narrator of “The Mystery of the Ray¬
mond Mortgage.” Chief of police who is unable to
solve the murder of Agnes Raymond.

Gregson He is “supposed to be the ablest detec¬
tive in the force” (Apprentice Fiction, p. 21). While
staying in the Raymond house, he is knocked
unconscious by a young man whom he finds kneel¬
ing by Agnes Raymond’s body.

Raymond, Agnes Young woman who was mur¬
dered by John Standish.

Raymond, Mr. Agnes Raymond’s father, who
found his murdered daughter’s body. The mortgage
which he had placed in a drawer disappeared around
the time of the murder.

Raymond, Mrs. Agnes Raymond’s mother, who
shoots John Standish for killing her daughter.

Smidy Boy whom John Syrel employs to locate
Mrs. Raymond.

Standish, John Servant who shoots Agnes Ray¬
mond, apparently because she loved someone else.
He is later shot by Mrs. Raymond.

Syrel, John Twenty-three-year-old reporter for
the New York Daily News who solves the murder of
Agnes Raymond.

young man (unnamed) Man whom Gregson
sees kneeling by the body of Agnes Raymond. He
tells John Syrel that Agnes loved him, not Standish,
providing a motive for the murder.

“My Ten Favorite Plays”

Article. New York Sun, September 10, 1934, p. 19;
F. Scott Fitzgerald on Authorship.

Fitzgerald’s list includes Charles Chaplin (1889-
1977) in The Pilgrim (1923) by Chaplin; an obscure
actor (unnamed) in a c. 1906 performance of Secret
Service (written 1895) by William Gillette (1855—
1937); his own performance in a magic show at age
nine; Greta Garbo (1905-90) “in her first big role”
(possibly The Temptress [1926] or Love [1927]); E.
H. Sothem (1859-1933) in a 1908 performance
of Our American Cousin (written 1858) by Tom
Taylor (1817-80); George M. Cohan (1878-1942)
in The Little Millionaire (1911) by Cohan; Ina
Claire (1892-1985) in The Quaker Girl (1911)
by James T. Tanner (1858-1915), Lionel Monck-
ton (1861-1924), Adrian Ross (1859-1933), and
Percy Greenbank (1878-1968); Hortense Alden
(1903-78) in the stage version of Grand Hotel
(1930) by Vicki Baum (1896-1960); Ernest Truex
(1890-1973) in Fitzgerald’s The Vegetable (1923);
and D. W. Griffith’s (1875-1948) face as Fitzger¬
ald imagines it during the filming of The Birth of a
Nation (1915).

154 "New Leaf, A'

Ross, Julia Young woman who wants to marry
Dick Ragland if he can stay sober.

“New Leaf, A”

Fiction. Written April 1931. The SATURDAY Eve¬
ning Post 204 (July 4, 1931), 12-13, 90-91; Bits
of Paradise.

Julia Ross is attracted to Dick Ragland, a hand¬
some alcoholic who promises to go on the wagon
on his upcoming 28th birthday; but she refuses to
see him after he shows up drunk for their first date.
When they sail for America on the same ship, she
realizes that she loves him regardless of his past.
They begin to go out together, and she agrees to
announce their engagement after he stays sober
for six months and to marry him after another
six months. Their mutual friend, Phil Hoffman,
warns her not to marry Dick because people do
not change. Phil forces Dick to confess that he had
become involved with Esther Cary during Julia’s
two-month absence. Dick plans a business trip to
LONDON to give Julia time to consider whether she
still wants to marry him, and he disappears at sea.
Phil Hoffman, who informs Julia of Dick’s disap¬
pearance, decides not to tell her that Dick had
been drinking again in the past few months. Phil
and Julia marry a year later with her illusions of
Dick still intact.

Dick Ragland’s analysis of his drinking reflects
Fitzgerald’s own growing dependence on alcohol:
“I found that with a few drinks I got expansive and
somehow had the ability to please people, and the
idea turned my head. Then I began to take a whole
lot of drinks to keep going and have everybody
think I was wonderful” (p. 637).

CHARACTERS

Cary, Esther Julia Ross’s friend who becomes
involved with Dick Ragland while Julia is out of
town.

Hoffman, Phil Young man who loves Julia Ross
and marries her a year after her fiance Dick Rag¬
land disappears at sea.

Ragland, Dick Handsome alcoholic who is
unable to keep his promise to stop drinking.

“News of Paris—
Fifteen Years Ago”

Fiction. Written c. 1940. Furioso 3 (Winter 1947),
5-10; Afternoon of an Author.

Henry Haven Dell, waiting for a ship, says good¬
bye to Ruth and has a one-afternoon fling with
Bessie Wing, who has just broken her engagement
to another man. When he leaves Bessie and finds
that he still has to wait for the ship, he calls on
Helene, an orphan whose convent education he
has supported for three years, and is jealous of her
interest in an American reporter.

CHARACTERS

Helene Orphan whose convent education Henry
Haven Dell is supporting.

Ruth Woman whom Henry Haven Dell has been
seeing in PARIS.

Tolliver, Mary Bessie Wing’s friend, who Bes¬
sie says will understand her decision to break her
engagement.

Wing, Bessie Leighton Girl with whom Henry
Haven Dell has a one-afternoon fling in Paris after
she breaks her engagement to another man because
her first marriage had been a failure.

“New Types”

Fiction. Written July 1934. The SATURDAY EVENING
POST 207 (September 22, 1934), 16-17, 74, 76,
78-79, 81; The Price Was High.

Leslie Dixon returns to America after many
years in China and meets Paula Jorgensen, who
invites him to a dance at the home of her aunt,
Mrs. Emily Holliday. Leslie and his cousin, Ellen

"Nice Quiet Place, A" 155

Harris, overhear Paula talking with a man about
receiving payment for being photographed at
the party. Just before the party is to begin, Paula
discovers Aunt Emily motionless in a chair and
thinks she is dead; however, she locks the room
and proceeds with the party. At the dance Paula
and Leslie kiss, and afterward he comes upstairs to
find her in her aunt’s room. Just as Paula explains
to Leslie that she knew her aunt was dead dur¬
ing the party, Aunt Emily wakes up from a deep
sleep. Leslie persuades Paula to leave with him
for New York. In the taxi she explains that she
went ahead with the party to get money for an
operation for her husband, Eric Tressiger, who has
been an invalid for seven years, since a week after
their secret wedding. Tressiger dies in the operat¬
ing room, and Paula decides that her home is with
Leslie now.

CHARACTERS
Clothilde Emily Holliday’s maid.

Dixon, Leslie Man who returns to America after
spending several years in China and falls in love
with Paula Jorgensen.

Haggin, Mr. and Mrs. Couple whom Emily Hol¬
liday asked to stand in the receiving line at the
dance.

Harris, Ellen Leslie Dixon’s cousin, with whom
he discusses Paula Jorgensen while they are at the
beach.

Holliday, Mrs. Emily Paula Jorgensen’s rich aunt,
who hosts a dance for Paula but sleeps through it,
causing Paula to think she is dead.

Jorgensen, Paula (Lady Paula Tressiger) Young
woman who desperately needs money for an opera¬
tion for her husband, Eric Tressiger. She has made
arrangements to receive payment for being photo¬
graphed at a party at the home of her aunt, Emily
Holliday. Just before the party Paula finds her aunt
motionless in a chair and thinks she is dead, but
she proceeds with the party.

Tressiger, Eric Paula Jorgensen’s invalid husband,
a British nobleman whom she married secretly at
age 17.

“Nice Quiet Place, A”

Fiction—Josepine Perry story. Written March
1930. The Saturday Evening Post 202 (May 31,
1930), 8-9, 96, 101, 103; Taps at Reveille; The Basil
and Josephine Stories.

Josephine Perry’s parents plan the family’s sum¬
mer vacation at Island Farms in Michigan instead
of Lake Forest because they realize that she knows
her way around Lake Forest too well. Josephine
is bored at Island Farms until she meets hand¬
some Sonny Dorrance, but then the Perrys return
to Lake Forest for Constance Perry’s wedding to
Malcolm Libby. Josephine resolves to do some¬
thing awful so that her family will send her away;
she is found with Malcolm’s arm around her, and
after the wedding she returns to Island Farms.

CHARACTERS

Aunt Gladys Dick’s mother; the Perrys’ hostess
at Island Farms.

Bement, Ed Josephine Perry’s earliest beau, from
dancing school days. He hosts a house party where
Josephine wins back the affection of Ridgeway
Saunders, who had fallen for another girl in her
absence. Ed drives Josephine to the railroad sta¬
tion after Constance Perry’s wedding so that she
can return to Island Farms. This character also
appears in “First Blood,” “A Woman with a Past,”
“A Snobbish Story,” and “Emotional Bankruptcy.”

Dick Josephine Perry’s boring cousin at Island
Farms. He blackmails Josephine to kiss him by
threatening to tell her mother about her conversa¬
tion with Sonny Dorrance.

Dorrance, Sonny Handsome young man whom
Josephine Perry meets at Island Farms. He tells her
his wife is black; she later learns that the story is

156 "Night at the Fair, A'

an old line he always uses when he wants to avoid
women while recovering from an affair.

Hammel, Lillian Josephine Perry’s friend, who
writes to her that Ridgeway Saunders has fallen
in love with Evangeline Ticknor while Josephine
is at Island Farms. This character also appears in
“First Blood,” “A Woman with a Past,” “A Snob¬
bish Story,” and “Emotional Bankruptcy.”

Libby, Malcolm Constance Perry’s fiance, who is
found in a compromising situation with Josephine
Perry. He and Constance are reconciled, and the
wedding goes on.

Perry, Constance Josephine Perry’s older sis¬
ter, who marries Malcolm Libby. This charac¬
ter also appears in “First Blood” and “Emotional
Bankruptcy.”

Perry, Mr. and Mrs. George (Herbert T.) Jose¬
phine Perry’s parents, who plan the family’s summer
vacation at quiet Island Farms in Michigan instead
of Lake Forest. These characters also appear in
“First Blood,” “A Woman with a Past,” and “A
Snobbish Story.”

Perry, Josephine See entry for this character
under The Basil and Josephine Stories.

Saunders, Ridgeway While Josephine Perry is
away at Island Farms, he falls in love with Evan¬
geline Ticknor. At Ed Bement’s house party, Jose¬
phine wins him back. This character also appears in
“A Woman with a Past.”

Ticknor, Evangeline Girl with whom Ridgeway
Saunders falls in love while Josephine Perry is away
at Island Farms. When Josephine wins Ridgeway
back at Ed Bement’s house party, Miss Ticknor
leaves suddenly.

“Night at the Fair, A”

Fiction—Basil Duke Lee story. Written May 1928.
The Saturday Evening Post 201 Quly 21, 1928),

8-9, 129-130, 133; Afternoon of an Author; The
Basil and Josephine Stories.

Basil Duke Lee, age 15, and Riply Buckner
are at the State Fair. Riply, who has been wear¬
ing long pants for a week, belittles Basil—still in
short pants—who has previously dominated him.
They join Elwood Learning in picking up two girls,
and Basil is gradually eliminated from the group.
The next evening, Basil’s new suit with long pants
arrives just in time for him to go to the fireworks,
where he sits with Gladys Van Schellinger and gen¬
erously urges Riply’s aunt not to tell Riply’s mother
about his unseemly behavior at the fair.

Fitzgerald noted in his Ledger for September
1911, when he was 15: “Attended state fair and
took chicken on roller-coaster” (p. 166).

CHARACTERS

Blair, Hubert The boys admire Hubert’s athletic
prowess, and the girls find him fascinating. He uses
the name “Bill Jones” when making a date with a
girl named Olive, who abandons Riply Buckner
for him. Gladys Van Schellinger asks Basil Duke
Lee to bring Hubert to visit her after she sees
him cavorting at the fair. This character, based
on Fitzgerald’s St. Paul friend and rival Reuben
Warner, also appears in “The Scandal Detec¬
tives,” “He Thinks He’s Wonderful,” and “The
Captured Shadow.”

Buckner, Riply Jr. Boy who has been wearing
long pants for a week and belittles Basil Duke Lee,
who is still in short pants. This character, based
on Fitzgerald’s St. Paul friend Cecil Read, also
appears in “The Scandal Detectives,” “He Thinks
He’s Wonderful,” and “The Captured Shadow.”

Learning, Elwood Basil Duke Lee and Riply
Buckner join him in picking up two girls at the State
Fair. This character also appears in “The Scandal
Detectives” and “He Thinks He’s Wonderful.”

Lee, Alice Riley Basil Duke Lee’s mother. (His
father is dead.) She does not understand Basil’s
urgent need for long pants but agrees to let him buy
them. This character also appears in “The Fresh¬
est Boy,” “The Captured Shadow,” and “Forging

"No Flowers" 157

Ahead.” Her maiden name is spelled “Riley” in
“A Night at the Fair,” but in “Forging Ahead” her
father and uncle spell it “Reilly.”

Lee, Basil Duke See entry for this character
under The Basil and Josephine Stories.

Olive Girl whom Elwood Learning, Riply Buck¬
ner, and Basil Duke Lee pick up at the State Fair.
On the following night she deserts Riply for a date
with “Bill Jones” (Hubert Blair).

Paxton, Speed Basil Duke Lee and Riply Buck¬
ner see this wild young man drive away with a
blonde in a red sportscar. Their envy of him leads
them to pursue the companionship of Elwood
Learning.

Reilly, Everett Basil Duke Lee’s uncle; brother
of Basil’s mother, Alice Riley Lee. He meets Basil
at the clothing store to help him select some suits
with long pants. This character also appears in
“Lorging Ahead.”

Riply Buckner's aunt (unnamed) She wit¬
nesses Riply Buckner cavorting at the State Lair
and plans to tell his mother; Basil Duke Lee tries to
dissuade her.

Van Schellinger, Gladys A sheltered rich girl who
invites Basil Duke Lee to sit in her box to watch the
fireworks. When she invites Basil to visit her at home
the next day, she asks him to bring Hubert Blair with
him. This character also appears in “He Thinks He’s
Wonderful” and “The Captured Shadow.”

“Night before
Chancellorsville, The”

Fiction. Written November 1934. ESQUIRE 3 (Feb¬
ruary 1935), 24, 165; in Taps at Reveille as “The
Night of Chancellorsville.”

Nora, a prostitute, recounts her experience while
traveling with a trainload of prostitutes to Virginia.

The train arrives in Chancellorsville, Virginia, dur¬
ing the Union retreat but manages to return safely
to Washington. Nora is outraged that the public is
only interested in what happened to the army and
that the “attack” on the train is never reported in
the newspapers.

In February 1940 Fitzgerald unsuccessfully tried
to interest Edwin Knopf, an editor at MGM, in an
idea for a Civil War movie based on “The Night
before Chancellorsville” and “The End of Hate”
(June 1940) (see Life in Letters, pp. 430-431).

CHARACTERS

Nell Nora’s friend, a prostitute who takes a train
to Virginia during the Civil War.

Nora Narrator of “The Night before Chancel¬
lorsville.” Prostitute who takes a train to Virginia
during the Civil War.

“No Flowers”

Liction. Written May 1934. The SATURDAY EVE¬
NING Post 207 (July 21, 1934), 10-11, 57-58, 60;
The Price Was High.

When Marjorie Clark attends her first prom, she
resents that hard economic times demand that the
prom not be as luxurious as the ones her mother,
Amanda Rawlins Clark, has told her of attend¬
ing in her own youth. When Marjorie’s date, Billy
Johns, leaves her for a moment in the Engagement
Room, she has a vision of her grandmother, Lucy,
breaking up with Phil Savage, who has been asked
to leave college for cheating—a story she has heard
from her grandmother. The next day in the same
room, Amanda Clark recalls how she had accepted
Howard’s corsage in place of Carter McLane’s,
which, she was unaware, contained his mother’s
engagement ring that he planned to give her that
night and how Carter had left her when he dis¬
covered the switch. On the day of the prom, when
Billy discovers that he cannot get his dinner jacket
from the tailor, he steals a suit from the student
laundry, but when Marjorie overhears the owner’s

158 "No Harm Trying'

date’s disappointment at not being able to go to the
prom, she makes Billy return the suit. When Billy’s
friend “Red” Grange passes out, Billy takes his suit,
and he and Marjorie attend the prom.

CHARACTERS

Clark, Amanda Rawlins Marjorie Clark’s mother,
who grows wistful over her own memories of proms
and her loss of Carter McLane.

Clark, Marjorie Girl who attends the prom with
Billy Johns.

Estelle Girl whose date, Stanley, discovers that
his suit is missing.

Grange, "Red" Wealthy student whose suit Billy
Johns borrows to attend the prom. Named after
college and professional football star Harold “Red”
Grange (1903-91).

Howard Carter McLane’s roommate, whose cor¬
sage Amanda Rawlins [Clark] accepted in place of
Carter’s.

Johns, William Delaney (Billy) Marjorie Clark’s
date to the prom, who has trouble finding a dinner
jacket or suit to wear to the dance.

Kurman Tailor who refuses to hand over Billy
Johns’s dinner jacket except for cash.

Lucy Marjorie Clark’s grandmother, who broke
up with Phil Savage when he was asked to leave
college for cheating.

Luther Steward whom Carter McLane asks to
search for a missing corsage.

McLane, Carter Man with whom Amanda Raw¬
lins [Clark] was in love but who withdrew his pro¬
posal after he discovered that she had accepted
Howard’s corsage in place of his.

Payson, Mr. Phil Savage’s friend, who asks him
to leave college after he is caught cheating on an
examination.

Savage, Phil Young man who was expelled from
college and with whom Marjorie Clark’s grand¬
mother Lucy broke up as a result.

Stanley Student whose suit is temporarily appro¬
priated by Billy Johns.

“No Harm Trying”

Fiction—Pat Hobby story. Submitted October
27, 1939. Esquire 14 (November 1940), 30, 151—
153; Afternoon of an Author; The Pat Hobby Stories.

Studio executive Carl Le Vigne tells Pat
Hobby that Pat’s ex-wife Estelle Devlin is in the
hospital after trying to cut her wrists and that he
has put Pat on the studio payroll in order to help
Estelle. Pat buys an idea from Eric, the callboy,
and assembles Jeff Manfred, Dutch Waggoner,
and Harmon Shaver to work on a script to star
Lizzette Starheim. When Shaver and the others
present the idea to Le Vigne, Le Vigne reveals
that Miss Starheim, a foreigner, can speak only
three English sentences; that Waggoner is not
reliable because of drug use; and that Manfred is
at the studio only because of a family connection.
Le Vigne reveals to Pat that he had walked in
when Estelle was typing Eric’s story idea and has
put Eric on salary.

CHARACTERS

Devlin, Estelle (Mrs. John Devlin) Pat Hobby’s
ex-wife, to whom he was married only three weeks.
Once the best script girl at the studio, she has tried
to cut her wrists and is in the hospital.

Eric Callboy at the studio who sells a movie idea
to Pat Hobby and, when the idea is discovered to
be his, is put on salary.

Griebel, Louie The studio bookie. This charac¬
ter also appears in “A Man in the Way,” “Teamed
with Genius,” “Pat Hobby and Orson Welles,” “Pat
Hobby’s Secret,” “Pat Hobby Does His Bit,” “On
the Trail of Pat Hobby,” “Pat Hobby’s Preview,”
and “Pat Hobby’s College Days.”

'Not in the Guidebook" 159

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Le Vigne, Carl Studio executive who puts Pat
Hobby on the payroll to help Pat’s ex-wife, Estelle
Devlin.

Manfred, Jeff Associate producer who got his
job through family connections.

Nick Pat Hobby’s landlord.

Shaver, Harmon Would-be producer who joins
Pat Hobby in assembling a production unit for a
movie based on Eric’s idea.

Starheim, Lizzette Foreign actress who can speak
only three English sentences.

Waggoner, Dutch Movie director who is unreli¬
able because of his drug use.

Notebooks of F. Scott
Fitzgerald, The

Edited by Matthew J. Bruccoli. New York & Lon¬
don: Harcourt Brace Jovanovich/Bruccoli Clark,
1978.

Fitzgerald probably began to assemble his Note¬
books after moving to “La Paix” outside BALTIMORE,
Maryland, in May 1932. His secretaries typed the
pages from his manuscript notes and from marked
tearsheets of his stories. When he decided not to
reprint one of his stories, he salvaged passages for
use in his novels, storing them in his Notebooks,
which also include story ideas, miscellaneous obser¬
vations, and autobiographical material. Edmund
WILSON published 60 percent of the entries, with
silent alterations, in The Crack-Up (1945). The
1978 volume includes the complete Notebooks in
unemended texts, as well as a selection of the loose
notes that are with The Last Tycoon/The Love of the
Last Tycoon: A Western manuscripts at PRINCETON
University Library.

Fitzgerald’s classification of notes includes:
Anecdotes; Bright Clippings; Conversation and
Things Overheard; Description of Things and
Atmosphere; Epigrams, Wise Cracks and Jokes;
Feelings & Emotions (without girls); Descrip¬
tions of Girls; Descriptions of Humanity (Physi¬
cal); Ideas; Jingles and Songs; Karacters; Literary;
Moments (What people do); Nonsense and Stray
Phrases; Observations; Proper Names; Rough
Stuff; Scenes and Situations; Titles; Unclassi¬
fied; Vernacular; Work References; Youth and
Army.

“Not in the Guidebook”

Fiction. Written December 1924; rewritten Febru¬
ary 1925. Woman’s Home Companion 52 (Novem¬
ber 1925), 9-11, 135-136; The Price Was High.

Jim and Milly Cooley, unhappily married for
six months, sail to EUROPE, where Jim says he has
found a job. Jim, a war hero who claims “shell
shock” to justify his unpleasant behavior to Milly,
deserts her on the train to PARIS. Tour guide Bill
Driscoll rescues her from two disreputable-look¬
ing men on the street and finds her a place to stay
with his own landlady. When Milly accompanies
him on a tour of the Chateau-Thierry battlefield,
she learns that it was really Bill who had sto¬
len the German orders for which Jim had taken
credit. Milly gets a divorce from Jim and marries
Bill.

CHARACTERS

Cooley, Jim False war hero who received a medal
for obtaining the German orders which in actuality
he had stolen from Bill Driscoll. He justifies his
mistreatment of his wife, Milly Cooley, by claiming
“shell shock.”

Cooley, Milly Eighteen-year-old girl who is
deserted by her husband, Jim Cooley, and who later
marries Bill Driscoll.

Coots, Mrs. Woman who wants to hire Milly
Cooley as a companion.

160 "Obit on Parnassus'

Driscoll, William (Bill) Tour guide in Paris who
befriends and later marries Milly Cooley. It was
really Driscoll, rather than Milly’s first husband,
Jim Cooley, who stole the German orders for which
Jim received a medal.

Horton, Mrs. Bill Driscoll’s landlady, who takes
in Milly Cooley.

“Obit on Parnassus”

Verse. The New Yorker 13 (June 5, 1937), 27; In
His Own Time; Poems.

A chronicle of authors who died in their thirties,
forties, fifties, and so on.

“Offshore Pirate, The”

Fiction. Written February 1920. The SATURDAY
Evening Post 192 (May 29, 1920), 10-11, 99,
101-102, 106,109; F&P.

Ardita Farnam rudely refuses her uncle’s
request to meet Toby Moreland, the son of his
friend, because she is in love with another man
whose imagination she admires. Her uncle leaves
his yacht, which is soon commandeered by Cur¬
tis Carlyle and his Six Black Buddies, all fugitives
from justice. During the three days that they are
together, Carlyle tells Ardita his history and his
ambitions of aristocracy. They fall in love, and
Ardita asks Carlyle to take her with him as he
flees to Peru and India. A revenue boat finds their
hideout in a secluded bay, and Ardita’s uncle and
Colonel Moreland come aboard. Carlyle reveals
that he is really Toby Moreland and that his entire
story was invented. Impressed by his imagination,
Ardita asks him to lie to her sweetly for the rest of
her life.

CRITICAL COMMENTARY

“The Offshore Pirate” originally ended with the
explanation that it was all a dream, but when the

Lobby portion for the 1921 silent movie, The Offshore
Pirate, starring Neil Hamilton and Viola Dana. (Bruccoli
Collection of F. Scott Fitzgerald, University of South
Carolina)

Post complained, Fitzgerald provided a new con¬
clusion, which ends, “She kissed him softly in the
illustration”—which he regarded as “one of the
best lines I’ve ever written” (to HAROLD Ober,
February 21, 1920; As Ever, p. 12). The dream
motif and this emphasis on the story as story are
both apparent in the opening line, where Fitzger¬
ald announces, “this unlikely story begins on a sea
that was a blue dream” (p. 70). He later describes
the yacht as “quiet as a dream boat star-bound
through the heavens” (p. 78). Rather than being
afraid when her yacht is commandeered by appar¬
ent pirates, Ardita is affected by her situation “as
the prospect of a matinee might affect a ten-year-
old child” (p. 78).

This lack of fear is partly due to her confidence
that she can take care of herself, but it is also due
to her overriding interest in the imagination of
Carlyle. When she asks him to tell her what he
has done and how, Carlyle demands, “Going to
write a movie about me?” The emphasis on story
and dream is continually repeated, as in Ardita’s
reply: “Lie to me by the moonlight. Do a fabulous
story” (p. 79). Even Carlyle’s fictional account of
his own history emphasizes that he was “playing
the role ” (p. 80). He tells Ardita that beauty has
to “burst in on you like a dream” (p. 81) ... but

'Offshore Pirate, The" 161

she has fallen asleep. The next day she threat¬
ens “to start writing dime novels” based on the
“interminable” story of his life he told her (p. 82).
When they anchor in a hidden bay that Fitgzer-
ald describes as “a miniature world of green and
gold,” Carlyle exclaims, “It’s the sort of island you
read about” (p. 83). Ardita responds to Carlyle’s
account of Babe Divine by roaring, “How you can
tell ’em!” (p. 84).

As the days pass and Ardita begins to dread
Carlyle’s eventual departure, her conception of
the events as “a spring of romance in a desert of
reality" (p. 89) begins to fade, but later as they
dance to the jazz music of his comrades, her “last
sense of reality dropped away, and she abandoned
her imagination to the dreamy summer scents of
tropical flowers and the infinite starry spaces
overhead, feeling that if she opened her eyes it
would be to find herself dancing with a ghost in
a land created by her own fancy” (p. 91). As a rev¬
enue boat approaches, they lie side by side, “their
chins in their hands like dreaming children” (p.
92). When Ardita’s uncle and Colonel Moreland
board the yacht, Carlyle confesses the “truth”
that he is actually Toby Moreland: “It was all a
plant. . . . The story was invented, Ardita, invented
out of thin Florida air” (p. 95). After a moment of
disbelief and anger, Ardita becomes radiant and
asks him to swear that it was entirely a product
of his own brain. She kisses him and exclaims,
“What an imagination! ... I want you to lie to me
just as sweetly as you know how for the rest of my
life” (p. 96).

This is the first appearance of Fitzgerald’s recur¬
ring plot of an unattainable woman who is won
by a man’s performance of a great or imaginative
feat. Ardita defends her interest in the unnamed
libertine thus: “Maybe because he’s the only man
I know, good or bad, who has an imagination and
the courage of his convictions” (p. 73). Carlyle/
Moreland wins her affections not by his accom¬
plishments (real or invented) but by the power
of his imagination. The ebullience of this story is
characteristic of many of Fitzgerald’s early stories
and serves as a tribute to the boundless possibilities
of youth.

Fitzgerald was identified with the Jazz Age,
a time characterized by youth’s revolt against
the narrow behavioral codes of authorities. In
“The Offshore Pirate,” such rebellion is not sim¬
ply for its own sake; Ardita and Carlyle replace
what they reject with codes of their own. Carlyle
aspires to an elusive aristocracy, characterized by
plenty of money, time, opportunity to read and
play, and the right sort of people around him.
Ardita agrees that they are both rebels but for dif¬
ferent reasons. She explains her own code excit¬
edly: “Courage—just that; courage as a rule of
life, and something to cling to always” (p. 87).
She elaborates that courage includes “a sort of
insistence on the value of life and the worth of
transient things” and “faith in the eternal resil¬
ience of me—that joy’ll come back, and hope and
spontaneity” (p. 88). Fitzgerald undercuts the
durability of this code, however, with his autho¬
rial comment that although Ardita’s courage is
the “interesting thing” about her, it “will tarnish
with her beauty and youth” (p. 89).

ADAPTATION

“The Offshore Pirate” was made into a movie—
now lost—in 1921.

CHARACTERS

Carlyle, Curtis Pseudonym of Toby Moreland,
a young man who wins Ardita Farnam by his
imaginative stunt of posing as a robber fleeing his
pursuers.

Divine, Babe A mulatto who is Curtis Carlyle’s
best friend.

Farnam, Ardita Strong-minded girl who is won
by the imaginative stunt of Toby Moreland, who
poses as pirate Curtis Carlyle.

Farnam, Mr. Ardita Farnam’s elderly uncle,
whose yacht is taken by Curtis Carlyle.

man (unnamed) Man with a bad reputation
whom Ardita Farnam loves for his imagination.

162 "On an Ocean Wave'

Merril, Mimi The woman to whom the man
Ardita Farnam loves had given a bracelet which he
had promised to Ardita.

Moreland, Colonel Toby Moreland’s [Curtis
Carlyle’s] father.

Trombone Mose The biggest of the “Six Black
Buddies” who accompany Curtis Carlyle.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

“On an Ocean Wave”

Fiction. Written summer 1940. ESQUIRE 15 (Febru¬
ary 1941), 59, 141; The Price Was High. Published
as by “Paul Elgin”; the only Fitzgerald story pub¬
lished under a pseudonym.

Gaston T. Scheer is traveling from New York
to France; both his wife, Minna Scheer, and his
mistress, Catherine Denzer, are on board the ship.
When he finds Minna embracing Professor Dol¬
lard, he summons Dollard to his cabin and has him
thrown overboard, while Minna eagerly awaits Dol¬
lard on deck.

CHARACTERS

Denzer, Catherine Gaston T. Scheer’s mistress.

Dollard, Professor Man whom Gaston T.
Scheer sees embracing his wife, Minna Scheer.
Gaston Scheer arranges for Dollard to be thrown
overboard.

Hanson, Claud Gaston T. Scheer’s secretary,
who cables that he would gladly die for Scheer.

O'Kane Gaston T. Scheer’s confidential secretary.

Scheer, Gaston T. Man who has his wife’s lover,
Professor Dollard, thrown overboard.

Scheer, Minna Gaston T. Scheer’s wife, who
becomes involved with Professor Dollard on a
transatlantic voyage.

“On a Play Twice Seen”

Verse. The Nassau Literary Magazine 73 (June
1917), 149; In His Own Time; Poems; incorporated
into This Side of Paradise.

“One Hundred False Starts”

Essay. The SATURDAY EVENING POST 205 (March 4,
1933), 13, 65-66; Afternoon of an Author.

Discussion of discarded story ideas, with an
analysis of Fitzgerald’s necessity for emotional
involvement with his material: “Mostly, we authors
must repeat ourselves—that’s the truth. We have
two or three great and moving experiences in
our lives—experiences so great and moving that
it doesn’t seem at the time that anyone else has
been so caught up and pounded and dazzled and
astonished and beaten and broken and rescued
and illuminated and rewarded and humbled in just
that way ever before. Then we learn our trade,
well or less well, and we tell our two or three
stories—each time in a new disguise—maybe ten
times, maybe a hundred, as long as people will lis¬
ten” (AOAA, p. 132).

“One Interne”

Fiction. Written August 1932. The SATURDAY EVE¬
NING Post 205 (November 5, 1932), 6-7, 86, 88-
90; Taps at Reveille.

Bill Tulliver begins his medical internship and
falls in love with Doctor Howard Durfee’s girl¬
friend, Thea Singleton. When Durfee announces
his engagement to debutante Helen Day, Thea

'One Trip Abroad" 163

explains to Bill that she had once been engaged
to John Gresham, who had died from his own
medical experiments, and that her continued
love for him prevented her from loving Durfee.
While examining a patient, Bill collapses with
stomach pain; he protests violently when his for¬
mer classmate George Schoatze examines him.
Thea convinces Bill to submit to an operation,
which heals him.

CHARACTERS

Billings, Senator Patient whom Bill Tulliver is
examining when Tulliver collapses with stomach
pain.

Day, Helen Doctor Howard Durfee’s debutante
fiancee, for whom he abandons Thea Singleton.

Durfee, Doctor Howard Surgeon who abandons
Thea Singleton to marry Helen Day.

Gresham, John Thea Singleton’s fiance, who
had died of radium poisoning contracted during his
own medical experiments.

Norton, Doctor Medical professor whom Bill
Tulliver idolizes.

Schoatze, George Bill Tulliver’s medical school
classmate who correctly diagnoses Bill’s illness. This
character also appears in “Zone of Accident.”

Singleton, Thea Anaesthetist who is Doctor
Howard Durfee’s girlfriend until he announces his
engagement to Helen Day.

Tulliver, Doctor William (Bill) Young man
beginning his medical internship who falls in love
with Thea Singleton. This character also appears in
“Zone of Accident.”

Van Schaik, Paul B. Patient with a hangover
whom Doctor Norton assigns Bill Tulliver to diag¬
nose at the beginning of his internship.

“One of My Oldest Friends”

Fiction. Written March 1924. Woman’s Home
Companion 52 (September 1925), 7-8, 120, 122;
The Price Was High.

Michael and Marion plan a party for Charley
Hart, one of their oldest friends, who is planning
to marry. When he tells them he is sick and can¬
not come to the party, they drop in at his apart¬
ment and discover that he is throwing a large
party himself. When they return home, Marion
reveals to Michael that Charley was in love with
her and wished Michael out of the way. When,
after some time, Charley asks Michael for $2,000
to help him out of a difficulty that could land
him in jail, Michael refuses. After Charley leaves,
threatening suicide, Michael regrets his own lack
of mercy and follows Charley into the night, pre¬
venting him from throwing himself in front of a

CHARACTERS

Hart, Charley Old friend of Michael and Marion
who was in love with Marion.

Marion Woman with whom Charley Hart—
one of the oldest friends of her and her husband,
Michael—was in love.

Michael Man who is crushed by the revelation
of his old friend Charley Hart’s interest in his wife,
Marion.

“One Trip Abroad”

Fiction. Written August 1930. The SATURDAY EVE¬
NING Post 203 (October 11, 1930), 6-7, 48, 51,
53-54, 56; Afternoon of an Author.

When Nelson Kelly inherits half a million
dollars, he and his wife of eight months, Nicole
Kelly, travel abroad for him to paint and her to
study singing. Initially they avoid socializing with
other people, feeling sufficient as a couple. In

164 "One Trip Abroad'

North Africa they become acquainted with
Mr. and Mrs. Liddell Miles, a stylish, snobbish,
world-weary couple who prefigure what the Kel¬
lys may become. A month later in ITALY, the Kel¬
lys become bored and restless; Nelson quarrels in
public with an English general, and they travel to
Monte Carlo. Two years later, they have a villa
in Monte Carlo and many friends and parties.
Three men are in love with Nicole, who is happy
with her popularity. Her friend Oscar Dane criti¬
cizes her snobbishness and points out that the
circles in which she moves are not as exclusive as
she thinks. When Nicole discovers that Nelson is
having an affair with Noel Delauney, she throws
a vase, which hits Noel, and Nelson blackens
Nicole’s eye. A month later they travel to Paris,
determined to avoid people and places that might
cause them trouble, yet they entertain and go
out frequently, and Nelson begins to drink more.
Shortly after the birth of their son, their friend
Count Chiki Sarolai invites them to a lavish
party on the boat of his brother-in-law, a mar¬
quis. Nicole ignores her doctor’s instructions not
to attend a party only three weeks after giving
birth; feeling faint, she leaves the party early and
discovers that Chiki has stolen her jewels. When
Nelson comes home, he tells her that Chiki had
arranged the party in their name and at their
expense. After a little more than four years of
marriage, the Kellys end up in SWITZERLAND,
where Nelson fights severe jaundice and Nicole
recuperates from two operations. During all their
travels, from time to time they notice a vaguely
familiar young couple who are also growing more
dissipated. As they resolve to try to renew their
lives together, they realize with horror that the
young couple are themselves.

CRITICAL COMMENTARY

Fitzgerald wrote “One Trip Abroad” after Zelda
Fitzgerald’s first breakdown, while his work on
Tender Is the Night was interrupted before he con¬
ceived and planned the Dick Diver version of the
novel. “One Trip Abroad” was his first literary
attempt to evaluate his experience in Europe. The
story is closely related to the developing novel and
serves almost as a miniature of TITN. Fitzgerald

revised passages from the story for the novel, which
may be why he never included “One Trip Abroad”
in any of his story collections. There are overlap¬
ping details, including the trip to North Africa, the
locusts, the Ouled Nails, T. F. Golding’s yacht, and
cannons breaking up hail clouds. More significant
are the thematic connections: character disintegra¬
tion, emotional bankruptcy, the negative effect of
Europe on Americans, and an emphasis on Switzer¬
land as a country of invalids and sanitariums.

Fitzgerald’s use of supernatural elements in his
writing was not always successful, but his use of
the doppelganger device in this story is skillful.
The doppelganger is a double image, a living per¬
son’s ghostly counterpart that represents an alter
ego or another side of his personality. One of the
most famous uses of the device is the portrait in
Oscar Wilde’s The Picture of Dorian Gray; there
may be a connection, since Wilde was an early
influence on Fitzgerald’s writing, and This Side of
Paradise featured an epigram from The Picture of
Dorian Gray.

In “One Trip Abroad,” the vaguely familiar
young couple that the Kellys encounter repeat¬
edly throughout their travels serves as the
doppleganger. The young couple’s increasing
unpleasantness mirrors the Kellys’ own deterio¬
ration. In Section I, the couple appears “nice,”
“charming” (p. 579), and “attractive” (p. 581).
In Section II, about two years later, the young
woman first strikes Nicole as “extremely smart”
(p. 585). After the chaos surrounding Nicole’s
discovery of Nelson’s unfaithfulness, they notice
the young couple and Nelson comments on how
they have changed, for the first time making a
direct comparison with himself and Nicole: “I
suppose we have, too,” he admits, “but not so
much.” The young couple are “harder-looking,”
and the man “looks dissipated” (p. 589). When
the woman screams and Nicole sees her pale face
distorted with anger, Nicole panics and asks Nel¬
son whether everybody is going crazy.

In Section III, Nicole briefly spots the young
woman across the room at Count Chiki Sarolai’s
fraudulent party, but it is only a passing men¬
tion. In Section IV, however, the young man and
young woman appear four times in rapid succes-

'One Trip Abroad" 165

sion. Nicole notices the girl has an “inquisitive”
but “calculating” face and “intelligent” eyes “with
no peace in them” (p. 595). The woman glances at
people “as though estimating their value” (p. 595).
Nicole finds this distasteful and egotistical, yet she
evaluates people the same way herself. The woman
seems unhealthy, flabby, and unwholesome, and
Nicole decides that she does not like her. Nel¬
son notices the man in the bar and characterizes
his face as weak, self-indulgent, and almost mean.
Later, while walking in the garden, they pass the
young couple, who avoid them, just as they often
avoid other people. Finally, in the story’s climax,
Nicole muses with Nelson about what has hap¬
pened to their marriage and wistfully holds out
hope that they can try to restore their relationship.
A flash of lightning suddenly illuminates the other
couple, and Nicole and Nelson realize with terror:
“They’re us! They’re us! Don’t you see?” (p. 597).

The decline of the Kellys, like the decline of Dick
and Nicole Diver in TITN, exemplifies Fitzgerald’s
concept of emotional bankruptcy—the idea that
squandering emotional capital on trivial relation¬
ships and pursuits leaves people unable to respond
to the things that are worthy of deep emotion.

A central theme of “One Trip Abroad,” as well
as other Fitzgerald stories and TITN, is the pro¬
foundly negative effect of Europe on Americans.
Fitzgerald’s attitude toward Europe was unique at
a time when the literary fashion was to denigrate
American culture as vulgar and uncivilized and
to advocate the superiority of EXPATRIATE life in
Europe, especially Paris.

The wealthy Kellys travel to Europe in search
of culture, to study art and music. Rather than
making the most of their opportunities, however,
they become restless and bored, begin to drink
more, waste their time, have affairs, and grow apart
from each other. Far from enriching them, their
European experience deflates their ideals, corrupts
them, and destroys their health.

Ultimately they lose “peace and love and health,
one after the other” (p. 596) and end up in Switzer¬
land. As in “The Hotel Child” and TITN, Switzer¬
land is not a charming postcard country but rather
a land of sickness and sanitariums, “a country where
very few things begin, but many things end” (p. 594).

CHARACTERS

Dane, Oscar Man who is interested in Nicole
Kelly in Monte Carlo.

De la Clos d'Hirondelle, Marquis Brother-in-
law of Count Chiki Sarolai.

Delauney, Madame Noel Woman whom Nicole
Kelly catches her husband, Nelson Kelly, kissing
and whom she accidentally strikes with a vase.

Fragelle, Gen. Sir Evelyne Englishman who is
outraged when Nelson Kelly turns on the hotel’s
electric piano again after Lady Fragelle turns it
off.

Fragelle, Lady Englishwoman who turns off
the hotel’s electric piano, which Nelson Kelly is
playing.

Golding, T. F. Man who hosts a party on his
yacht in Monte Carlo. This character also appears
in TITN.

Kelly, Nelson Young American who deteriorates
as he travels abroad with his wife, Nicole Kelly.

Kelly, Nicole Young American woman who
deteriorates as she travels abroad with her hus¬
band, Nelson Kelly. In an early version of TITN,
protagonist Lew Kelly’s wife is also named
Nicole.

Miles, Liddell and Cardine Couple whom Nel¬
son and Nicole Kelly meet in Algeria and with
whom they go to see the Ouled Nails dancing girls.

Sarolai, Count Chiki Austrian who lives with
Nelson and Nicole Kelly in Paris for a while until
he hosts a large party at their expense.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

166 "On Schedule"

Kuehl, John. “Flakes of Black Snow: ‘One Trip
Abroad’ Reconsidered.” In New Eassays on E Scott
Fitzgerald’s Neglected Stories, edited by Jackson R.
Bryer (Columbia: University of Missouri Press,
1996), 175-188.

“On Schedule”

Fiction. Written December 1932. The SATURDAY
Evening Post 205 (March 18, 1933), 16, 17, 71,
74, 77, 79; The Price Was High.

Rene du Cary prepares a schedule for his
daughter, Noel du Cary, so that he can be free to
pursue his scientific research. Fie emphasizes the
importance of the schedule to Noel and her com¬
panion, Becky Snyder, a 19-year-old girl whom
he plans to marry in seven months. The wait for
their wedding is necessitated by a provision in
his deceased wife’s will that he forfeit the income
she bequeathed him if he remarries within seven
years after her death. One day his chief assistant’s
wife, Dolores Hume, is shocked to discover Becky
in the bathtub in du Cary’s house, where she is
bathing because the water is not running where
she boards. On a cold day the water in the jars for
du Cary’s experiments freezes, and he panics at
the possible loss of his research until he discovers
that Becky has been in his laboratory for nearly an
hour trying to start the furnace to save the jars.
At that time he tells Dolores Hume of his engage¬
ment to Becky.

CHARACTERS

Aquilla's brother Rene du Cary’s black servant,
who has never been called by his own name since
replacing du Cary’s former houseman.

Aquilla's sister Black servant who cleans Rene
du Cary’s house.

du Cary, Edith Rene du Cary’s deceased wife,
whose will specifies that he forfeits the income she
bequeathed him if he remarries within seven years
of her death.

du Cary, Noel Rene du Cary’s 12-year-old daugh¬
ter, for whom he prepares an elaborate schedule.

du Cary, Rene Frenchman who is doing scien¬
tific research in an American university town and
who plans to marry Becky Snyder.

Hume, Charles Rene Du Cary’s chief assistant
in his scientific research.

Hume, Dolores Charles Hume’s wife, who is
shocked to find Becky Snyder in Rene du Cary’s
bathtub.

Slocum, Mr. and Mrs. Rene du Cary’s next-
door neighbors, with whom he arranges for Becky
Snyder to board until he can marry her.

Snyder, Becky Nineteen-year-old girl whom
Rene du Cary plans to marry and who is serving as
a companion to his daughter, Noel du Cary.

“On the Trail of Pat Hobby”

Fiction. Submitted February 14, 1940. ESQUIRE 15
(January 1941), 36, 126; The Pat Hobby Stories.

Writer Bee Mcllvaine tells Pat Hobby about a
$50 reward for a title for the movie she is work¬
ing on about what goes on in tourist cabins. Pat is
startled because he has secretly been employed as a
night clerk for tourist cabins that had been raided
that morning. When Bee calls producer Jack Bern¬
ers to her office to discuss title ideas, Pat suggests
Grand Motel, which Berners says wins the prize.

CHARACTERS

Berners, Jack Hollywood producer who occa¬
sionally hires Pat Hobby. This character also appears
in “A Man in the Way,” “Teamed with Genius,”
“Pat Hobby, Putative Father,” “Pat Hobby Does His
Bit,” “Pat Hobby’s Preview,” “A Patriotic Short,”
and “On the Trail of Pat Hobby.”

Griebel, Louie The studio bookie. This charac¬
ter also appears in “A Man in the Way,” “Teamed

"Ordeal, The" 1 67

with Genius,” “Pat Hobby and Orson Welles,” “Pat
Hobby’s Secret,” “Pat Hobby Does His Bit,” “No
Harm Trying,” “Pat Hobby’s Preview,” and “Pat
Hobby’s College Days.”

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Marcus, Harold Powerful movie producer for
whom Pat Hobby had been press agent two decades
ago. Pat steals a hat which he does not realize belongs
to Marcus. This character also appears in “Pat Hobby
and Orson Welles” and “The Homes of the Stars.”

Mcllvaine, Bee Writer whose picture needs a
title.

“On Your Own”

Fiction. Written spring 1931. ESQUIRE 91 (January'
30, 1979), 56-67; The Price Was High.

Actress Evelyn Lovejoy sails to America from
Europe to attend the funeral of her father in
Rocktown, Maryland. On the ship she becomes
attracted to George Ives, who is also from Mary¬
land; he returns her interest. After her father’s
funeral, she asks George to take her to the Wash¬
ington train station, where she will leave for New
YORK; en route she is offended by his insistence
that he kiss her. She does not find much success in
New York and is considering an English offer when
she hears from Ives, who she learns is wealthy and
important. When he takes her to dinner with his
mother, Evelyn is uncomfortable because of the
presence of Colonel Cary, who had known her
when she was a “party girl” whom businessmen
hired to entertain clients. She becomes unneces¬
sarily defensive about being an actress and is rude
to Mrs. Ives. As a result, George decides to end
their relationship, but when he sees her crying, he
returns to her.

Fitzgerald wrote this story as “Home to Mary¬
land” after he returned to Europe from his father’s
funeral in ROCKVILLE, Maryland. It was declined by
seven magazines—which had not happened since

his apprentice days. He recycled some of Evelyn’s
reaction to her father’s funeral for Dick Diver in
Tender Is the Night.

CHARACTERS

Barlotto Actor whom Evelyn Lovejoy has dis¬
liked since he was fresh with her while they were
dancing.

Barney, Charles Producer of the show in which
Evelyn Lovejoy has been acting.

Cary, Colonel Man who knew Evelyn Lovejoy
when she was a “party girl” and whose presence
at dinner with George Ives and his mother makes
Evelyn defensive.

Ives, George Wealthy lawyer who falls in love
with Evelyn Lovejoy, whom he meets on a ship
from England to America.

Ives, Mrs. George Ives’s mother, who is offended
by Evelyn Lovejoy’s comments at dinner.

Lovejoy, Evelyn Actress who falls in love with
George Ives while sailing to America for her
father’s funeral. Her behavior on shipboard is based
on Bert Barr.

O'Sullivan, Eddie Actor who is in the same show
as Evelyn Lovejoy.

“Open That Door”

In July or August 1939 Fitzgerald worked for Uni¬
versal for one week, preparing a treatment for the
1937 novel Bull by the Homs by Charles Bonner
(1896-1965), but the movie was not made.

“Ordeal, The”

Fiction. The Nassau Literary Magazine 71 Oune
1915), 153-159; Apprentice Fiction; incorporated
into “Benediction.”

168 "Original Follies Girl, The'

In the hour before taking his first vows, a Jesuit
novice contemplates his vocation and what he is
giving up to enter the priesthood. Then, during the
service in the chapel, he senses an overpowering
presence of evil in a candle flame but stands firm
against the spiritual attack until the candle goes out.
This story, which grew out of Fitzgerald’s 1912 visit
to his cousin Thomas Delihant at the Jesuit semi¬
nary in Woodstock, Maryland, expresses Fitzgerald’s
awareness of evil as a supernatural force.

CHARACTER

Jesuit novice (unnamed) Young man who
encounters an evil presence in the chapel as he
prepares to enter the priesthood.

“Original Follies Girl, The”

Fiction by Zelda Fitzgerald. College Humor
17 (July 1929), 40-41, 110; Bits of Paradise; Zelda
Fitzgerald: The Collected Writings. Bylined “Zelda
and F. Scott Fitzgerald” but credited to Zelda in
Ledger.

Gay, an actress and “an adventuress of a quiet
order” ( Collected Writings, p. 294), wanders about
from New York to London, Biarritz, and Paris,
where she dies in childbirth.

“ ‘O Russet Witch!’ ”

See “His Russet Witch.”

“Other Names for Roses”

Fiction by Zelda Fitzgerald. Zelda Fitzgerald: The
Collected Writings.

Jayce and Fedora Jones move to southern France
when Jayce tires of living on his wife’s family’s
money. Jayce becomes involved with ballerina Bela¬
nova, and Fedora becomes involved with poet Til-
lyium. When Jayce tires of Belanova and learns that
she is married to Tillyium, he returns to Fedora.

“Our American Poets”

Verse parodies. The PRINCETON TlGER 28 (Novem¬
ber 10, 1917), 11; In His Own Time; Poems.

Parodies of Robert W. Service (1874-1958) and
Robert Frost (1874-1963).

“Our April Letter”

Verse. Notebooks #885; Poems.

Includes Fitzgerald’s analysis of his short stories:
“I have asked a lot of my emotions—one hundred
and twenty stories. The price was high, right up
with Kipling, because there was one little drop of
something not blood, not a tear, not my seed, but
me more intimately than these, in every story, it
was the extra I had. Now it is gone and I am just
like you now” (Poems, p. 114).

“Our Next Issue”

Prose parody. The NASSAU LITERARY MAGAZINE
72 (December 1916), unpaged; In His Own Time.
Unsigned—attributed to Fitzgerald on the basis of
a clipping in the Fitzgerald Papers at PRINCETON
University Library.

Humorous list of forthcoming articles in “Chao-
politan,” a burlesque of COSMOPOLITAN.

“Our Own Movie Queen”

Fiction by Zelda Fitzgerald. Written November
1923. Chicago Sunday Tribune, June 7, 1925, maga¬
zine section, pp. 1—4; Bits of Paradise; Zelda Fitzger -
aid: The Collected Writings. Published as by F. Scott
Fitzgerald, but he noted in his Ledger: “Two thirds
written by Zelda. Only my climax and revision” and
elsewhere “half mine” (pp. 7 & 143).

Twenty-year-old Grade Axelrod and her
father sell fried chicken and beer in a shanty on

"Paint and Powder" 169

the unfashionable side of the river until Grade
takes a job at the Blue Ribbon department store
and is chosen Grand Popularity Queen. She is dis¬
appointed when her promised leading role in a
movie about her hometown turns out to be insig¬
nificant. Assistant director Joe Murphy, who is in
love with her, offers her a chance to get back at
Mr. Blue Ribbon because the director, Decourcey
O’Ney, is angry that he was not paid what he
had been promised. They reshoot and reedit the
film between the preliminary showing and the first
public performance; the completed movie features
Gracie prominently and attacks the Blue Ribbon
store. O’Ney is temporarily committed to an asy¬
lum. Gracie marries Murphy, and they operate a
profitable restaurant.

“Our Young Rich Boys”

Article. McCall’S 53 (October 1925), 12, 42, 69;
In His Own Time. Published with ZELDA FlTZGER-
ALD’s “What Became of the Flappers?” under the
joint title “What Becomes of Our Flappers and
Sheiks?” Copyrighted as “The Little Brother of the
Flapper.”

Fitzgerald traces the circumstances that cause
America’s young rich boys to grow up “perfectly
useless,” assuming “all the privileges of aristocracy
without any of its responsibilities” (In His Own
Time, p. 205).

“Outside the Cabinet-
Maker’s”

Fiction. Written c. December 1927. The Century
Magazine, 117 (December 1928), 241-244; After¬
noon of an Author.

While his wife is delivering doll-house plans to
the cabinet-maker, Daddy tells his little girl a story
of a fairy princess held captive by an ogre. Fitzger¬
ald was undecided as to whether to classify this
piece as nonfiction or a story.

CHARACTERS

Daddy Man who tells his daughter a tale of a
fairy princess held captive by an ogre.

lady (unnamed) Woman who delivers plans for
her daughter’s doll house to the cabinet-maker.

little girl (unnamed) Six-year-old child whose
Daddy tells her a story of a fairy princess held cap¬
tive by an ogre.

“Pain and the Scientist”

Fiction. The Newman News (1913), 5-10; Appren¬
tice Fiction.

Walter Hamilton Bartney injures his ankle on
his way to meet his neighbor, Dr. Hepezia Skiggs,
a Christian Scientist, who refuses to help him but
charges him $3.00 for “treating” him by telling him
that he feels no pain. Bartney later catches Skiggs
picking flowers on his property; Bartney shakes him
violently, forces him to say that he feels no pain,
and makes Skiggs pay him $2.00.

CHARACTERS

Bartney, Walter Hamilton (William) Law stu¬
dent who takes revenge on Dr. Hepezia Skiggs,
a Christian Scientist, for an earlier unpleasant
encounter.

Skiggs, Dr. Hepezia Walter Hamilton Bartney’s
neighbor, a Christian Scientist.

“Paint and Powder”

Article by Zelda Fitzgerald. The Smart Set 84
(May 1929), 68; Zelda Fitzgerald: The Collected
Writings. Bylined “F. Scott Fitzgerald” only, but
written by Zelda in 1927 as “Editorial on Youth”
for Photoplay, which did not publish it; credited to
Zelda in Ledger.

170 "Passionate Eskimo, The"

Argument that paint and powder stand for the
desire of women “to choose their destinies—to be
successful competitors in the great game of life”
(Collected Writings, p. 416).

“Passionate Eskimo, The”

Fiction. Written February 1935. LIBERTY 12 (June
8, 1935), 10-14, 17-18.

Pan-e-troon, an Eskimo who is at the World’s
Fair, explores Chicago on his last day before return¬
ing to Lapland; he purchases tobacco for his father
and a lock for himself. On a whim, beautiful Edith
Cary invites him to her house. Another guest,
World’s Eair executive Humphrey Deering, is con¬
cerned about the possible theft of a tiara, formerly
the property of Elizabeth the Second, which Edith’s
father had lent to the fair. Pan-e-troon suspects
both Deering and another guest, Edith’s former
suitor Westgate, of planning to steal the tiara, so
he locks them in their rooms for the night. During
the night Pan-e-troon catches the Carys’ butler,
Christopher, attempting to steal the tiara, which
Pan-e-troon retrieves and restores to Edith in the
morning.

CHARACTERS

Cary, Edith Beautiful, wealthy girl who invites
Eskimo Pan-e-troon to visit her home.

Christopher Edith Cary’s butler, whom Pan-e-
troon prevents from stealing a tiara.

Deering, Humphrey A World’s Fair executive
who spends the night at Edith Cary’s house to pro¬
tect the tiara which her father had lent to the fair.

Earl Bundle boy whom the department store
saleswoman instructs to take Pan-e-troon to the
five-and-ten store around the corner.

George Salesman from whom Pan-e-troon attempts
to purchase some tobacco.

Old Wise One Pan-e-troon’s father, who reluc¬
tantly lets his son explore Chicago and asks him to
purchase some tobacco.

Pan-e-troon Eskimo from Lapland who is in
Chicago for the World’s Fair and who prevents the
theft of a valuable tiara from the home of Edith
Cary.

saleswoman Woman who sends Pan-e-troon to
the five-and-ten store when he is unable to afford a
toy airplane in the department store.

Westgate Edith Cary’s suitor, whom she thinks
sued for breach of promise, although it was actually
his father who did so. When Westgate explains to
Edith, they are reunited.

“Pasting It Together”

Autobiographical essay. ESQUIRE 5 (March 1936),
35, 182-183; CU. Sequel to “The Crack-Up.”

Exploration of the factors that contributed to
Fitzgerald’s crack-up, including his dropping out of
PRINCETON due to illness and the difficulty which
his lack of money imposed on his courtship of
Zelda Sayre [Fitzgerald] —a situation that left
him with “an abiding distrust” of the rich. He con¬
fesses that he had done “very little thinking, save
within the problems of my craft” and attributes to
five friends his intellectual, artistic, and political
conscience; his sense of the good life; and his social
relations. He concludes: “So there was not an ‘I’
any more—not a basis on which I could organize
my self-respect—save my limitless capacity for toil
that it seemed I possessed no more. It was strange
to have no self . . .” (CU, p. 79).

The titles of “Pasting It Together” and “Handle
with Care” were transposed in the early printings
of CU.

“Pat Hobby and Orson Welles”

Fiction. Submitted February 6, 1940. Esquire 13
(May 1940), 38, 198-199; The Pat Hobby Stories.

Pat Hobby has trouble getting into the movie
studio, and he begins to think of actor-direc¬
tor Orson Welles (1915-85) as being responsible
for edging him out. People inexplicably begin to

"Pat Hobby, Putative Father" 171

address him as “Orson,” although the resemblance
is faint. Jeff Boldini makes up Pat with a beard like
Welles’s and drives him to the studio, placing a sign
bearing Welles’s name in the car window. Pat, who
is unaware of the sign, does not understand the
crowds staring at him. He flees to a bar where he
buys a drink for every bearded man.

CHARACTERS

Boldini, Jeff Makeup artist who makes up Pat
Hobby like Orson Welles and drives him to the stu¬
dio in a car with a sign bearing Welles’s name.

Griebel, Louie The studio bookie. This charac¬
ter also appears in “A Man in the Way,” “Teamed
with Genius,” “Pat Hobby’s Secret,” “Pat Hobby
Does His Bit,” “No Harm Trying,” “On the Trail
of Pat Hobby,” “Pat Hobby’s Preview,” and “Pat
Hobby’s College Days.”

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Joe Barber who tells Pat Hobby he looks like
Orson Welles.

Marcus, Harold Powerful movie producer for
whom Pat Hobby had been press agent two decades
ago. He gives a ride to Pat, who asks him for a studio
pass. This character also appears in “The Homes of
the Stars” and “On the Trail of Pat Hobby.”

“Pat Hobby Does His Bit”

Fiction. Submitted March 18, 1940. ESQUIRE 14
(September 1940), 41, 104; The Pat Hobby Stories.

While in a studio, attempting to borrow money
from Gyp McCarthy, Pat Hobby is inadvertently
filmed in a scene with Lily Keatts, who leaves for
England immediately after the shooting. Because
Pat is in the scene with Keatts, producer Jack Bern¬
ers requires him to play a bit part in some related
shots, including one in which he is to be run over
by a car. Pat wakes up alone on the ground and is
unable to get up because of the protective metal

doublet he is wearing. He is discovered by a police¬
man, who explains that Pat must have been forgot¬
ten in the excitement when the star broke his leg.
Despite his rage, Pat feels pride in having once
again saved a movie.

CHARACTERS

Griebel, Louie The studio bookie. This charac¬
ter also appears in “A Man in the Way,” “Teamed
with Genius,” “Pat Hobby and Orson Welles,” “Pat
Hobby’s Secret,” “No Harm Trying,” “On the Trail
of Pat Hobby,” “Pat Hobby’s Preview,” and “Pat
Hobby’s College Days.”

Hilliard, George Director of the movie in which
Pat Hobby is required to act.

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Keatts, Lily English actress who leaves the coun¬
try before it is discovered that Pat Hobby was inad¬
vertently filmed in a scene with her.

McCarthy, Gyp Actor from whom Pat Hobby
tries to borrow money.

policeman (unnamed) Officer who finds Pat
Hobby stranded after a movie stunt.

“Pat Hobby, Putative Father”

Fiction. Submitted November 13, 1939. ESQIME
14 (July 1940), 36, 172-174; The Pat Hobby Stories.

Producer Jack Berners asks Pat Hobby to give
a tour of the studio lot to Sir Singrim Dak Raj and
John Brown Hobby Indore, Pat’s putative son, who
was born to Pat’s ex-wife Delia Brown when she
was married to Pat. In an attempt to give John a

172 "Pat Hobby's Christmas Wish"

chance to see actress Bonita Granville, Pat inad¬
vertently interferes with the shooting of a movie.
John later tells Pat that he and his uncle have
decided to give him 50 sovereigns ($250) a month
for the rest of his life, except in case of war. The
next morning Pat reads that England has declared
war (the beginning of World War II).

CHARACTERS

Brown, Delia John Brown Hobby Indore’s mother,
who was married to Pat Hobby when John was bom,
although Pat was not the child’s father.

Granville, Bonita (1923-1988) Historical fig¬
ure and character in “Pat Hobby, Putative Father.”
Actress whom John Indore wishes to see. When
Pat Hobby sneaks John and his uncle into the set
where she is acting, they are inadvertently filmed
along with her.

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Indore, John Brown Hobby Pat Hobby’s puta¬
tive son by his ex-wife Delia Brown, to whom he
had been married at the time of John’s birth.

Raj, Sir Singrim Dak John Brown Hobby
Indore’s uncle, the third-richest man in India.

Raudenbush, Miss Pat Hobby’s secretary.

“Pat Hobby’s Christmas Wish”

Fiction. Submitted October 14, 1939. ESQUIRE
13 (Jammy 1940), 45, 170-172; The Pat Hobby
Stories.

Pat Hobby’s new secretary, Helen Kagle, tells
him of a letter which she believes indicates that

studio executive Harry Gooddorf killed director
William Desmond Taylor (1877-1922) 18 years
before in a famous unsolved HOLLYWOOD crime.
Hobby attempts to blackmail Gooddorf into mak¬
ing him a producer—his Christmas wish. Gooddorf
explains that the letter was not a murder confes¬
sion and agrees not to tell anyone about the black¬
mail attempt.

CHARACTERS

Bronson, Will Recipient of Harry Gooddorfs
letter about the murder of director William Des¬
mond Taylor.

Gooddorf, Harry Studio executive whom Pat
Hobby tries to blackmail.

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Hopper, Joe Man from the scenario department
with whom Pat Hobby chats briefly on Christmas
Eve.

Kagle, Miss Helen Pat Hobby’s new secretary,
who formerly worked for Harry Gooddorf. She
offers Pat information with which he attempts to
blackmail Gooddorf.

“Pat Hobby’s College Days”

Fiction. Submitted November 8, 1939. ESQUIRE 15
(May 1941), 55, 168-169; The Pat Hobby Stories.

Studio bookie Louie Griebel tells Pat Hobby that
Jack Berners wants to make a movie about U.W.C.
(University of the Western Coast). Pat meets Ath¬
letic Superintendent Kit Doolan, who takes him
to a faculty committee meeting to pitch his idea,
based on the disciplinary case they are discussing.
Dean Samuel K. Wiskith is appalled by the sugges¬
tion. A proctor brings in Evylyn Lascalles, Pat’s sec¬
retary, who has been caught with a pillowcase full
of Pat’s empty liquor bottles, which she has been
trying to dispose of. Pat leaves with the bottles and
tells the committee to think over his idea.

'Pat Hobby's Secret" 173

CHARACTERS

Doolan, Kit Athletic superintendent at U.W.C.
(University of the Western Coast).

Griebel, Louie The studio bookie. This charac¬
ter also appears in “A Man in the Way,” “Teamed
with Genius,” “Pat Hobby and Orson Welles,” “Pat
Hobby’s Secret,” “Pat Hobby Does His Bit,” “No
Harm Trying,” “On the Trail of Pat Hobby,” and
“Pat Hobby’s Preview.”

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Kresge, Jim Man who introduces Pat Hobby to
Kit Doolan.

Lascalles, Evylyn Pat Hobby’s secretary, whom
he has told to dispose of the empty liquor bottles
in his office.

Wiskith, Samuel K. Dean of the student body at
U.W.C.

“Pat Hobby’s Preview”

Fiction. Submitted October 14, 1939. ESQUIRE
14 (October 1940), 30, 118, 120; The Pat Hobby
Stories.

Pat Hobby asks producer Jack Berners for tick¬
ets to the preview of a movie for which he is shar¬
ing credit with Ward Wainwright. Berners tells Pat
that he may have to take Pat’s name off the picture
when it is released because Wainwright is angry
that Pat, who made only slight revisions, is sharing
his screen credit. When Pat goes to Berners’s office
to pick up his tickets, the secretary tells Pat that
the tickets she is giving him belonged to Wain¬
wright, who was so angry that he would not go
to the preview. When Pat and his date, Eleanor
Carter, a cute blond tourist, arrive at the preview,
she is flattered by the attention of the crowd, who
think she is a movie star. The doorman refuses to
let Pat enter, telling him his tickets are for a bur¬

lesque show. Ward Wainwright storms out of the
theater and gives Pat his ticket stubs, saying he
does not want his name on the picture.

CHARACTERS

Carter, Eleanor Cute blond tourist from Idaho
whom Pat Hobby takes to a movie preview.

Griebel, Louie The studio bookie. This charac¬
ter also appears in “A Man in the Way,” “Teamed
with Genius,” “Pat Hobby and Orson Welles,” “Pat
Hobby’s Secret,” “Pat Hobby Does His Bit,” “No
Harm Trying,” “On the Trail of Pat Hobby,” and
“Pat Hobby’s College Days.”

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Wainwright, Ward Writer who is angry that
Pat Hobby will share the credit for a script written
mostly by Wainwright.

“Pat Hobby’s Secret”

Fiction. Submitted March 9, 1940. ESQUIRE 13
(June 1940), 30, 107; The Pat Hobby Stories.

Producer Banizon has forgotten the movie end¬
ing told to him by writer R. Parke Woll, who now
refuses to talk unless offered an eight-week con¬
tract. Banizon pays Pat Hobby to find out the end¬
ing; Pat tracks down Woll in a bar, where Pat tricks
him into revealing the idea. While trying to hit Pat,
Woll inadvertently hits Mr. Smith, the bouncer,
who kills him. Pat hires an agent and asks Banizon
for $3,000 to reveal the idea. When Banizon agrees
to pay him $1,000 to see if he really knows, Pat has
forgotten the idea.

174 Pat Hobby Stories, The

Banizon, Mr. Producer who has forgotten the
movie ending which R. Parke Woll told him and
who hires Pat Hobby to discover it.

Griebel, Louie The studio bookie. This charac¬
ter also appears in “A Man in the Way,” “Teamed
with Genius,” “Pat Hobby and Orson Welles,” “Pat
Hobby Does His Bit,” “No Harm Trying,” “On the
Trail of Pat Hobby,” “Pat Hobby’s Preview,” and
“Pat Hobby’s College Days.”

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Smith, Mr. Doorman/bouncer who kills R. Parke
Woll.

Smith, Mrs. Mr. Smith’s wife, who warns Pat
Hobby against serving as a witness against her hus¬
band, who is on trial for killing R. Parke Woll.

Woll, R. Parke Playwright who refuses to repeat his
idea for a movie ending unless he is offered an eight-
week contract. After being tricked into revealing the
idea to Pat Hobby, he is killed by a bouncer in a bar.

Pat Hobby Stories, The

Story collection. New York: Charles SCRIBNER’S
Sons, 1962; Harmondsworth, U.K.: Penguin, 1967.
Contents: Introduction by Arnold Gingrich; “Pat
Hobby’s Christmas Wish,” “A Man in the Way,”
‘“Boil Some Water—Lots of It,”’ “Teamed with
Genius,” “Pat Hobby and Orson Welles,” “Pat Hob¬
by’s Secret,” “Pat Hobby, Putative Father,” “The
Homes of the Stars,” “Pat Hobby Does His Bit,” “Pat
Hobby’s Preview,” “No Harm Trying,” “A Patriotic
Short,” “On the Trail of Pat Hobby,” “Fun in an
Artist’s Studio,” “Two Old-Timers,” “Mightier than
the Sword,” “Pat Hobby’s College Days”; Appendix:
Fitzgerald’s revision of “A Patriotic Short.”

These stories were originally published in 17 con¬
secutive issues of ESQUIRE, January 1940 through
May 1941. Fitzgerald revised them and altered the
order in which he wished them to be published.

CHARACTER

Note: Only Pat Hobby is discussed here. Other
characters are discussed under the individual sto¬
ries in which they appear.

Hobby, Pat Character in a series of 17 stories that
Fitzgerald wrote in HOLLYWOOD during 1939 and
1940. (See also “Reunion at the Fair.”) A 49-year-
old dishonest and illiterate writer who has been in
the business of publicity and scriptwriting for 20
years. During the days of silent movies, Pat achieved
some financial success, but for the past 10 years
(roughly 1929-39) he has had trouble finding work.
He hangs around the studio in hopes of getting a job
and because it seems like home to him.

Fitzgerald described Pat as “a complete rat” (to
Arnold Gingrich, December 19, 1939; Life in Let¬
ters, p. 426). When Fitzgerald’s secretary FRANCES
Kroll’s brother Nathan was working on dramatizing
the Hobby stories, Fitzgerald wrote to him that “the
series is characterized by a really bitter humor and
only the explosive situations and the fact that Pat is
a figure almost incapable of real tragedy or damage
saves it from downright unpleasantness. The play
should attempt to preserve some of this flavor. It is
the only thing actually new about the original con¬
ception” (May 6, 1940; Correspondence, p. 595).

The Pat Hobby stories should not be regarded
as autobiographical; Pat Hobby is not Scott Fitzger¬
ald. The stories did, however, provide an outlet
for some of the bitterness Fitzgerald felt about his
experiences in Hollywood, and his income from
the Hobby stories supported the writing of The Last
Tycoon/The Love of the Last Tycoon: A Western.

“Patriotic Short, A”

Fiction—Pat Hobby story. Submitted January 8,
1940. Esquire 14 (December 1940), 62, 269; Sto¬
ries; The Pat Hobby Stories.

Producer Jack Berners hires Pat Hobby to work
on a short picture called True to Two Flags about
General Fitzhugh Lee (1835-1905), a Confeder¬
ate officer who later fought for the United States

'Perfect Life, The" 175

against Spain. Pat’s mind keeps drifting back to
the time many years ago when the president of
the United States had visited the studio. Pat had
attended a luncheon for the president, who had
later remarked on Pat’s swimming pool, now a sym¬
bol to Pat of his lost success. Hurt by his present
failure and lack of respect, Pat revises the movie
script so that Lee rejects the United States commis¬
sion offered to him by President William McKinley
(1843-1901).

CHARACTERS

Brown, Ben Head of the shorts department, who
tells Pat Hobby that no new angles are needed on
the story about General Fitzhugh Lee.

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Maranda, Mr. Pat Hobby’s next-door neighbor
back in the days of Pat’s success. He had invited
Pat to a luncheon for the president of the United
States.

“Penny Spent, A”

Fiction. Written July 1925. The SATURDAY EVENING
Post 198 (October 10, 1925), 8-9, 160, 164, 166;
Bits of Paradise.

Ohio manufacturer Julius Bushmill hires desti¬
tute “incurable spendthrift” Corcoran, whom he
meets in a PARIS bar, to guide his wife and daugh¬
ter, Hallie Bushmill, on a month-long tour of Bel¬
gium and Holland on their way to meet Hallie’s
fiance, Claude Nosby. Julius Bushmill presents
the job as an opportunity for Corcoran to learn
to spend money responsibly and requires him to
keep a record of all his expenditures. When Hallie

expresses boredom with the inexpensive, histori¬
cally informative excursions Corcoran plans, he
resolves to show her that he knows how to enter¬
tain, and he spends money lavishly to provide her
with a whirlwind of activities with socially promi¬
nent people. Mr. Bushmill rebukes Corcoran for
his spending but, at Hallie’s insistence, consents to
allow him to guide them and Nosby through ITALY
as well. In Italy Corcoran keeps Hallie, Mrs. Bush¬
mill, and Nosby from being captured by bandits
by throwing money into the air for the bandits to
chase. He and Hallie are married, and he works in
his father-in-law’s purchasing department.

CHARACTERS

Bushmill, Hallie Ohio belle who falls in love
with Corcoran, whom her father has hired as a tour
guide.

Bushmill, Jessie Pepper Julius Bushmill’s wife
and Hallie Bushmill’s mother.

Bushmill, Julius Hallie Bushmill’s father, an
Ohio manufacturer who hires Corcoran as a tour
guide for his wife and daughter.

Corcoran An “incurable spendthrift” whom
Julius Bushmill hires to guide his wife and daughter
through EUROPE. Corcoran tells Hallie Bushmill:
“When you were still playing who’s got the button
back in Ohio I entertained on a cruising trip that
was so much fun that I had to sink my yacht to
make the guests go home” (Bits of Paradise, p. 122).

Nosby, Claude Hallie Bushmill’s fiance.

“Perfect Life, The”

Fiction—Basil Duke Lee story. Written October
1928. The Saturday Evening Post 201 (January
5, 1929), 8-9, 113, 115, 118; Taps at Reveille; The
Basil and Josephine Stories.

After Basil Duke Lee, age 16, plays well in a St.
Regis football game, alumnus John Granby urges
him to try to lead a perfect life and to exert a

176 "Pierian Springs and the Last Straw, The'

positive influence on his schoolmates. While visit¬
ing George Dorsey, Basil tries to reform George’s
sister, Jobena Dorsey. She is so offended by Basil’s
priggishness that she agrees to elope with Skiddy
De Vinci, a hard-drinking young man to whom
she had once been engaged. When Basil overhears
Jobena describing him as “a nasty little prig,” he
abandons his attempt at perfection and stops her
elopement by getting Skiddy drunk.

CHARACTERS AND A PLACE
Bacon, Doctor Headmaster of St. Regis who
congratulates Basil Duke Lee on his play in a foot¬
ball game and introduces him to alumnus John
Granby. This character also appears in “The Fresh¬
est Boy.”

De Vinci, Leonard Edward Davies ("Skiddy")

Hard-drinking young man with whom Jobena
Dorsey plans to elope. Basil Duke Lee foils their
plan by getting Skiddy drunk.

Dorsey, George Student at St. Regis who invites
Basil Duke Lee to visit during Thanksgiving holi¬
days but is offended by Basil’s reforming efforts. This
character also appears in “Basil and Cleopatra.”

Dorsey, Jobena George Dorsey’s sister, who is
so offended by Basil Duke Lee’s priggish attempt
to reform her that she agrees to elope with Skiddy
De Vinci. Basil foils their plan by getting Skiddy
drunk. This character also appears in “Basil and
Cleopatra.”

Granby, John St. Regis alumnus and Princeton
student who urges Basil Duke Lee to try to lead a
perfect life and to exert a positive influence on his
schoolmates.

Lee, Basil Duke See entry for this character
under The Basil and Josephine Stories.

St. Regis Fictional prep school in This Side of Par¬
adise, “The Family Bus,” “Inside the House,” “The
Swimmers,” “The Freshest Boy,” and “The Perfect
Life”; based on the Newman SCHOOL. In “The Fam¬

ily Bus,” St. Regis is described as “America’s most
expensive school” (The Price Was High, p. 497).

“Pierian Springs and the Last
Straw, The”

Fiction. The Nassau Literary Magazine 73 (Octo¬
ber 1917), 173-185; Apprentice Fiction.

George Rombert is a successful novelist until
he marries Myra Fulham, who rejected him many
years before; after their marriage he stops writing.
This story is Fitzgerald’s first analysis of the conflict
between love and achievement, and it develops one
of his major themes—the ruin of a gifted man by a
selfish woman.

CHARACTERS

Fulham, Mrs. Myra Woman who rejected George
Rombert 15 years before and who despises him for
letting her treat him like a dog. She later elopes with
George the night before she is to marry another man.

Rombert Narrator of “The Pierian Springs and
the Last Straw.” Young man who finally meets his
legendary Uncle George Rombert.

Rombert, George Hard-drinking, philander¬
ing author of scandalous novels who stops writing
when he marries Myra Fulham, who had rejected
him many years before.

Rombert, Mr. and Mrs. Thomas Rombert’s
parents, whom he overhears discussing his Uncle
George Rombert.

Poems 1911-1940

Edited by MATTHEW J. BRUCCOLI; foreword by James
Dickey. Bloomfield Hills, Mich. &. Columbia, S.C.:
Bruccoli Clark, 1981. Includes poems from the pub¬
lications of the Newman School and Princeton
UNIVERSITY, 1911-19; poems published by Fitzger-

Poems 1911-1940 177

aid, 1919-37; poems from Fitzgerald’s Notebooks
which were not published in his lifetime; previously
unpublished poems and posthumously published
poems, 1913^10; and fragments and unfinished
poems. Contents: “Football”; Fie! Fie! Fi-Fi! lyr¬
ics—“Act I Opening Chorus,” “Gentlemen Bandits
We,” “A Slave to Modern Improvements,” “In Her
Eyes,” “What the Manicure Lady Knows,” “Good
Night and Good Bye,” “’Round and ’Round,”
“Chatter Trio,” “Finale Act I,” “Rose of the Night,”
“Men,” “In the Dark,” “Love or Eugenics,” “Rem¬
iniscence,” “Fie! Fie! Fi-Fi!,” “The Monte Carlo
Moon,” “Finale Act II”; “May Small Talk”; “A
Cheer for Princeton”; The Evil Eye lyrics—“Act I
Opening Chorus,” “I’ve Got My Eyes on You,” “On
Dreams Alone,” “The Evil Eye,” “What I’ll For¬
get,” “Over the Waves to Me,” “On Her Eukalali,”
“Jump Off the Wall,” “Finale Act I,” “Act II Open¬
ing Chorus,” “Harris from Paris,” “Twilight,” “The
Never, Never Land,” “My Idea of Love,” “Other
Eyes,” “The Girl of the Golden West,” “With Me”;
“To My Unused Greek Book”; “One from Penn’s
Neck”; Untitled—“Oui, le backfield .. Safety
First lyrics—“Prologue,” “Garden of Arden,” “Act
I Opening Chorus,” “Send Him to Tom,” “One-
Lump Percy,” “Where Did Bridget Kelly Get Her
Persian Temperament?” “It Is Art,” “Safety First,”
“Charlotte Corday,” “Underneath the April Rain,”
“Finale Act I Dance, Lady, Dance,” “Act II Safety
First,” “Hello Temptation,” “When That Beauti¬
ful Chord Came True,” “Rag-Time Melodrama,”
“Scene II,” “Take Those Hawaiian Songs Away,”
“The Vampires Won’t Vampire for Me,” “The
Hummin’ Blues,” “Down in Front,” “Finale”; “Rain
Before Dawn”; From “Precaution Primarily”; “Pop¬
ular Parodies—No. 1”; “Undulations of an Under¬
graduate”; Untitled—“Ethel had her shot of brandy
.. .”; “Princeton—The Last Day”; “On a Play
Twice Seen”; “The Cameo Frame”; “Our Ameri¬
can Poets”; “City Dusk”; “The Pope at Confession”;
“My First Love”; “Marching Streets”: First Printed
Text, Revised Notebooks Text; “We keep you clean
in Muscatine”; “A Dirge”; Verse included in This
Side of Paradise: Untitled—“Marylyn and Sallee
...,” Untitled—“So the gray car crept ...,” “In a
Lecture-Room,” Untitled—“Victorians, Victorians,

who never learned to weep . . .,” Untitled—“Songs
in the time of order ...,” Untitled—“We leave to¬
night ...,” “Boston Bards and Hearst Reviewers,”
Untitled—“The February streets . ..,” Untitled—
“When Vanity kissed Vanity . ..,” “A Poem That
Eleanor Sent Amory Several Years Later,” “A Poem
Amory Sent to Eleanor and Which He Called ‘Sum¬
mer Storm,”’ Untitled—“A fathom deep in sleep I
lie . ..”; Untitled—“Carrots and peas . ..”; Unti¬
tled—“Oh down— . ..”; “Sleep of a University”;
“To Anne”; Untitled—“For the lads of the village
triumph . ..”; Untitled—“Then wear the gold hat,
if that will move her .. .”; Untitled—“We sing not
soft, we sing not loud .. .”; Untitled—“Oh—oh—
oh—oh . ..”; “Lamp in a Window”; “Obit on Par¬
nassus”; “A Blues”; “Answer to a Poem”; “Apology
to Ogden Nash”; Untitled—“The barber’s too slick
.. .”; “Beg You to Listen”; “Clay Feet”; Untitled—
“Colors has she in her soul . ..”; Untitled—“Come
in! Come in! .. .”; “Counter Song to the ‘Under¬
taker’”; Untitled—“Don’t you worry I surrender
.. .”; “The Earth Calls”; Untitled—“Everytime I
blow my nose I think of you .. .”; Untitled—“First
a hug and tease and a something on my knees . ..”;
“For a Long Illness”; Untitled—“For Song—Idea—
“; Untitled—“For the time that our man spent in
pressing your suit ...”; Untitled—“A god intoxi¬
cated fly . ..”; “Half-and-Half Girl”; Untitled—
“Hooray . ..”; “Hortense—To a Cast-Off Lover”;
Untitled—“I don’t need a bit assistance .. .”; Unti¬
tled—“If Hoover came out for the N. R. A... .”;
Untided—“If you have a little Jew .. .”; Untided—
“I hate their guts .. .”; Untitled—“In a dear little
vine-covered cottage .. .”; Untitled—“Keep the
Watch! ...”; Untitled—“Life’s too short to ...”;
Untitled—“Listen to the hoop la . ..”; Untitled—
“Little by little . ..”; Untitled—“Mr. Berlin wrote
a song about forgetting to remember ...”; Unti¬
tled—“Mother taught me to—love things . ..”;
Untitled—“Now is the time for all good men to
come to the aid of the party .. .”; “Oh, Sister, Can
You Spare Your Heart?”; Untitled—“Oh where
are the boys of the boom-boom-boom .. .”; “One
Southern Girl”; “Our April Letter”; “Pilgrimage”;
Untitled—“Pretty Boy Floyd . ..”; “Prizefighter’s
Wife”; “Refrain for a Poem. How to Get to So and

178 "Poor Old Marriage'

So”; “Sad Catastrophe”; Untitled—“Scott Fitzger¬
ald so they say ..Untitled—“She lay supine
among her Pekinese . .“Song”; “Song—“; “A
Song Number Idea”; Untitled—‘“Sticking along.’
The voice so faint sometimes I could scarcely hear
it . .“Thousand-and-First Ship”; “To Carter,
a Friendly Finger”; Untitled—“Touchdown song
based on . .Untitled—“Truth and—conse¬
quences . .Untitled—“You’ll be reckless if you
.. Untitled—“You’ll never know . .Unti¬

tled—“You’ve driven me crazy .. “Martin’s
Thoughts”; Untitled—“My mind is all a-tumble
..“On My Ragtime Family Tree”; Untitled—
“My Very Very Dear Marie .. “For Dolly”; “A
Letter to Helen”; Untitled—“Ruth . . Unti¬
tled—“There was a young lady named Ruth ..
“When We Meet Again”; “Ellerslie”; Untitled—
“Ah May, Shall I splatter my thoughts in the air
. . “1st Epistle of St. Scott to the Smithsonian”;
“To the Ring Lardners”; “[Dog! Dog! Dog!]”; Unti¬
tled—“Of wonders is Silas M. Hanson the champ
.. .”; Untitled—“There was a young man of Que¬
bec . ..”; Untitled—“All the girls and mans .. .”;
Untitled—“Orange pajamas and heaven’s guitars
.. .”; Untitled—‘“Oh papa— . .Untitled—
“DON’T EXPECT ME ...”; “Momishness”; Unti¬
tled—“East of the sun, west of the moon .. .”; “For
2nd Stanza Baoth Poem”; “Because”; Untitled—
“Oh Misseldine’s, dear Misseldine’s .. .”; “Spring
Song”; “Lines on Reading Through an Autograph
Album”; Untitled—“Valentine was a Saint ...”;
Untitled—“SING HOTCH-CHA SING HEY-HI
NINNY . ..”; “Some Interrupted Lines to Sheilah”;
Untitled—“This book tells that Anita Loos .. .”;
“For Mary’s Eighth Birthday”; “Les Absents Ont
Toujours Tort”; “To a Beloved Infidel”; “The Big
Academy Dinner”; “Lest We Forget”; Untitled—
“From Scott Fitzgerald .. .”; Untitled—“Frances
Kroll . ..”; “On Watching the Candidates in the
Newsreels”; Untitled—“Now your heart is come
so near ...”; “[Vowels]”; “Tribute”; “Choke down
another Hie and Hail the king”; “Colds in the
Head”; “Dopey Sal + Penthouse Jerry”; “The girls I
met at the Chicago Fire”; Untitled—“Mr. McDon¬
ald was keen to lay eyes on his daughter ...”;
Untitled—“Strombergs assorted pickels gather near

.. .”; Untitled—“There was no firelight .. .”; “To
My Grandfather.”

“Poor Old Marriage”

Review of Brass by CHARLES NORRIS. The Bookman
54 (November 1921), 253-254; In His Own Time.

Fitzgerald found this novel disappointing: “It is a
decent, competent, serious piece of work—but excite
me it simply doesn’t” (In His Own Time, p. 127).

“Poor Working Girl”

Fiction by Zelda Fitzgerald. College Humor 85
(January 1931), 72-73, 122; Bits of Paradise; Zelda
Fitzgerald: The Collected Writings. Bylined “F. Scott
and Zelda Fitzgerald” but credited to Zelda in Ledger.

Eloise Everette Elkins takes a job caring for the
young daughter of Mr. and Mrs. Goatbeck. She
plans to save money to study in New York but
squanders it. Because she has been neglecting her
duties, she is dismissed from her job four days before
the Goatbecks go abroad. She returns home rather
than going to New York and ultimately takes a job
in the local power plant.

“Pope at Confession, The”

Verse. The Nassau Literary Magazine 73 (Febru¬
ary 1919), 105; In His Own Time; Poems. Included
in A Book of Princeton Verse ii.

“Popular Girl, The”

Fiction. Written November 1921. The SATURDAY
Evening Post 194 (February 11 & 18, 1922),
3-5, 82, 84, 86, 89; 18-19, 105-106, 109-110;
Bits of Paradise.

'Porcelain and Pink (A One-Act Play)" 179

When 21-year-old Yanci Bowman is left with
only a thousand dollars after the sudden death of her
father, she goes to New York to attempt to win Scott
Kimberly—and the money and stability he repre¬
sents—by conveying an illusion of prosperity and
popularity. After turning down several dates with
him to increase his desire for her, she agrees to have
tea with him; since she has just spent her last dime,
she knows that this is her last chance to win him. He
no longer seems interested in her, and she thinks she
has lost him. As she rides away in a taxi, she realizes
that she has no money with which to pay the fare.
When she tells the driver she has no money, Scott
appears to rescue her and reveals to Yanci that he
has known of her predicament all along.

Fitzgerald regarded “The Popular Girl,” his only
two-part story for the Post, as “cheap.” He told HAR¬
OLD Ober, “The Popular Girl hasn’t the vitality of
my earlier popular stories even tho I’ve learned my
tricks better now and am technically proficient. ... I
was merely repeating the matter of an earlier period
without being able to capture the exuberant man¬
ner” (January 24, 1921; As Ever, p. 34).

CHARACTERS

Bowman, Tom Yanci Bowman’s alcoholic father,
who dies suddenly, leaving her destitute.

Bowman, Yanci Beautiful girl whose father’s sud¬
den death leaves her with little money. She attempts
to win wealthy Scott Kimberly by conveying an
impression of prosperity and popularity.

Braden, Carty Young man with whom Yanci
Bowman dances at the country club.

Haedge, Mr. Man who informs Yanci Bowman
of the dismal state of her deceased father’s financial
affairs.

Harley, Ellen Old friend whom Yanci Bowman
encounters on the train to PRINCETON.

Kimberly, Scott Wealthy young man who falls in
love with Yanci Bowman.

Long, Jimmy Old friend with whom Yanci Bow¬
man goes out in order to make Scott Kimberly
jealous. She is shocked by his gauche appearance.

Oral, Mrs. Woman who handles arrangements
for Tom Bowman’s funeral.

O'Rourke, Jerry Young man whose marriage
proposal Yanci Bowman rejects.

Rogers, Mrs. Orrin Woman who introduces
Yanci Bowman to Scott Kimberly, her husband’s
cousin.

Yanci Bowman's aunt (unnamed) Relative
with whom Yanci Bowman considers living after
her father’s death but who is traveling abroad for an
indefinite period of time.

“Porcelain and Pink
(A One-Act Play)”

Written October 1919. The SMART SET, 61 (Janu¬
ary 1920), 77-85; Tales of the Jazz Age.

Julie Marvis is in the bathtub when her sister’s
date, Mr. Calkins, looks through the window. He
can see only the wallpaper and does not realize
the room is a bathroom, and he converses with
Julie while thinking she is Lois Marvis. Lois enters
the room and, horrified to see him at the window,
faints. The play ends just before Julie rises out of
the tub.

CHARACTERS

Calkins, Mr. A divorced, literary man who has a
date with Lois Marvis.

Marvis, Julie Girl in a bathtub who is mistaken
for her sister, Lois Marvis, by Lois’s date, Mr.
Calkins.

Marvis, Lois Julie Marvis’s conservative older
sister, who has a date with Mr. Calkins.

180 Portable F. Scott Fitzgerald, The

Portable R Scott Fitzgerald, The

Collection. Selected by DOROTHY PARKER, with
introduction by JOHN O’HARA. New York: Viking,
1945. Also published as The Indispensable F. Scott
Fitzgerald. New York: The Book Society, 1949. Con¬
tents: The Great Gatsby, Tender Is the Night, “Absolu¬
tion,” “The Baby Party,” “The Rich Boy,” “May Day,”
“The Cut-Glass Bowl,” “The Offshore Pirate,” “The
Freshest Boy,” “Crazy Sunday,” “Babylon Revisited.”
This volume contributed to the Fitzgerald REVIVAL.

“Precaution Primarily”

Burlesque musical comedy. The PRINCETON TIGER27
(February 3, 1917), 13-14; In His Own Time.

Burlesque of a TRIANGLE Club performance.
Includes comments by actors behind the scenes
and competition among the authors, composers,
and lyricist watching from the back of the theater.

“Presumption”

Fiction. Written November 1925. The SATURDAY
Evening Post 198 (January 9, 1926), 3-5, 226,
228-229, 233-234; The Price Was High.

San Juan Chandler is in love with wealthy Noel
Garneau, whom he met at a dude ranch in Mon¬
tana. He sees her again while visiting his snob¬
bish cousin Cora Chandler, who warns him that
he is too poor to get any ideas about Noel. While
playing golf, he is joined by Noel’s father, Harold
Garneau, who—unaware that San Juan is speak¬
ing of Noel—advises him to get to work so that he
can support the wealthy girl he loves. As a result,
San Juan drops out of college and moves to Bos¬
ton, where he quickly becomes prosperous. When
he reads a newspaper announcement of Noel’s
engagement to Brooks Fish Templeton, San Juan
urges her to marry him instead. Mr. Garneau calls
him presumptuous and sends him away. Noel, dis¬
traught by the encounter, leaves town. San Juan
manages to locate her at the home of her aunt, who

tries to send him away until she realizes that he is
not Templeton, whom Noel now despises, but San
Juan, whom Noel wishes to see.

CHARACTERS

Chandler, Cora San Juan Chandler’s wealthy,
snobbish cousin, who tries to discourage his inter¬
est in Noel Garneau.

Chandler, San Juan Poor young man who aspires
to marry wealthy Noel Garneau.

Garneau, Harold Noel Garneau’s father, who
advises San Juan Chandler to get to work so he can
support the wealthy girl he loves but later calls him
presumptuous when he discovers that the girl is his
own daughter.

Garneau, Noel Wealthy girl with whom San Juan
Chandler is in love and who breaks her engagement
to Brooks Fish Templeton when Chandler, who has
made money, declares his love for her.

Harper, Billy Young man who accompanies
Holly Morgan to dinner at Noel Garneau’s house.

Morgan, Holly Girl to whom San Juan Chandler
pays attention, which makes Noel Garneau jealous.

Poindexter, Mrs. Morton (Aunt Jo) Noel Gar¬
neau’s aunt, who tries to send San Juan Chandler
away until she realizes that he is the young man
whom Noel really wishes to see.

Templeton, Brooks Fish Noel Gameau’s fiance,
whom she sends away after San Juan Chandler
declares his love for her.

Price Was High: The Last
Uncollected Stories of
R Scott Fitzgerald, The

Edited with introduction by Matthew J. Bruccoli.
New York &. London: Harcourt Brace Jovanovich/
Bruccoli Clark, 1979; London: Quartet, 1979. Story

public letter to Thomas Boyd 181

collection. Contents: “The Smilers,” “Myra Meets
His Family,” “Two for a Cent,” “Dice, Brass Knuck¬
les & Guitar,” “Diamond Dick and the First Law of
Woman,” “The Third Casket,” “The Pusher-in-the-
Face,” “One of My Oldest Friends,” “The Unspeak¬
able Egg,” “John Jackson’s Arcady,” “Not in the
Guidebook,” “Presumption,” “The Adolescent Mar¬
riage,” “Your Way and Mine,” “The Love Boat,”
“The Bowl,” “At Your Age,” “Indecision,” “Flight
and Pursuit,” “On Your Own,” “Between Three and
Four,” “A Change of Class,” “Six of One—,” “A
Freeze-Out,” “Diagnosis,” “The Rubber Check,”
“On Schedule,” “More than Just a House,” “I Got
Shoes,” “The Family Bus,” “In the Darkest Hour,”
“No Flowers,” “New Types,” “Her Last Case,” “Lo,
the Poor Peacock!”, “The Intimate Strangers,”
“Zone of Accident,” “Fate in Her Hands,” “Image
on the Heart,” “Too Cute for Words,” “Inside the
House,” “Three Acts of Music,” ‘“Trouble,”’ “An
Author’s Mother,” “The End of Hate,” “In the Hol¬
idays,” “The Guest in Room Nineteen,” “Discard”
[“Director’s Special”], “On an Ocean Wave,” and
“The Woman from Twenty-One.”

The title for this volume is taken from Fitzger¬
ald’s comment in “Our April Letter”: “I have asked
a lot of my emotions—one hundred and twenty
stories. The price was high, right up wit h Kipling,
because there was one little drop of something not
blood, not a tear, not my seed, but me more inti¬
mately than these, in every story, it was the extra I
had” ( Notebooks #885).

“Prince of Pests A Story of
the War, The”

Humor article. The PRINCETON TlGER 27 (April 28,
1917), 7; In His Own Time.

Account of the German Kaiser and his “board of
directors” planning World War I.

“Princeton”

Essay. COLLEGE HUMOR 13 (December 1927), 28-
29, 130-131; Afternoon of an Author.

Part of a College Humor series on American col¬
leges. Fitzgerald reflects on the “deep and imper¬
ishable love” that PRINCETON arouses in the hearts
of its students. He explores various aspects of the
school and its history, including the rise of foot¬
ball in America, the wealth of many of Princeton’s
students, changes in its admission standards, stu¬
dent publications and organizations (such as the
The Nassau Literary Magazine and the Trian¬
gle Club), the honor system, and the clubs. He
then focuses on what Princeton was like when he
was there in early 1917, just before World War
I. Fitzgerald concludes that Princeton preserves
“much of what is fair, gracious, charming and hon¬
orable in American life” (AOAA, p. 79).

“Princeton—The Last Day”

Verse. The Nassau Literary Magazine 73 (May
1917), 95; In His Own Time; Poems; incorporated
into This Side of Paradise in prose format at the end
of Book I.

EDMUND Wilson praised the poem, saying that
it “possesses a depth and dignity of which I didn’t
suppose you capable” (October 7, 1917; Letters on
Literature and Politics 1912-1972 [New York: Far¬
rar, Straus & Giroux, 1977], p. 30).

public letter to Thomas Boyd

St. Paul Daily News, February 20, 1921, feature sec¬
tion, p. 8; reprinted as “The Credo of F. Scott
Fitzgerald,” Chicago Daily News, March 9, 1921,
and as “How the Upper Class Is Being Saved by
‘Men Like Mencken,”’ Baltimore Sun, March 22,
1921, section C, p. 2; In His Own Time.

Comment on the status of American litera¬
ture, complaining that the “history of a young
man” is “the overworked art-form at present” and
noting that the “so-called upper class” will read
what H. L. Mencken recommends (In His Own
Time, p. 165).

182 "Pusher-in-the-Face, The"

“Pusher-in-the-Face, The”

Fiction. Written March 1924. Woman’s Home
Companion 52 (February 1925), 27-28, 143-144;
The Price Was High.

Charles David Stuart is arrested for pushing Mrs.
George D. Robinson in the face when she annoys
him at the theater, but the judge decides that the
assault was justified and dismisses the case. Stuart
then pushes all the people who annoy him, such as
a phony beggar. Stuart’s employer, T. Cushmael,
plans to fire him in a few days, but after Stuart
foils a burglary attempt by pushing an obnoxious
customer in the face, Cushmael promotes him, and
waitress Edna Schaeffer agrees to go to the theater
with him.

“The Pusher-in-the-Face” was made into a
movie—now lost—in 1928.

CHARACTERS

Cushmael, T. Charles David Stuart’s employer,
who plans to fire Stuart for missing work while in
jail for pushing a woman in the face.

Robinson, Mrs. George D. Woman who annoys
Charles David Stuart at the theater by talking
loudly and jostling his seat. He is arrested for push¬
ing her in the face.

Schaeffer, Edna Waitress at T. Cushmael’s res¬
taurant whom Charles David Stuart likes.

Stuart, Charles David Man who is arrested for
pushing a woman in the face at the theater.

Raffles

Samuel Goldwyn, 1939

In September 1939, Fitzgerald worked for Sam¬
uel Goldwyn (1884-1974) on Raffles for a week; his
assignment was cut short because of a disagreement
between Goldwyn and director Sam Wood (1883—
1949). The movie was released with screenplay by
John Van Druten (1901-57) and Sidney Howard

(1891-1939), based on stories about a gentleman
thief by E. W. Hornung (1866-1921).

“Rags Martin'Jones and the
Prince of Wdes”

Fiction. Written December 1923. McCall’s 51
Ouly 1924), 6-7, 32, 48, 50; All the Sad Young Men.

A story reminiscent of “The Offshore Pirate”;
Fitzgerald described it to Maxwell Perkins as
“Fantastic Jazz” (June 1, 1925; Life in Letters, p.
121; Scott/Max, p. 112).

Wealthy and beautiful Rags Martin-Jones returns
to America after five years in Europe. She tells John
M. Chestnut, who is in love with her, that she wants
“a man who’s capable of a gallant gesture” (p. 277)
and that Americans lack imagination. He stages an
elaborate spectacle for her, including an introduc¬
tion to a man who she is led to believe is the prince
of Wales. When John is supposedly being sought for
murder, Rags attempts to arrange for the prince to
transport John and herself to Canada in a “runaway
marriage.” John reveals that he is responsible for
the entire performance, and Rags is charmed that
he had orchestrated “a perfectly useless, gorgeous
thing, just for me” (p. 287).

CHARACTERS

Cedric Elevator-boy who poses as Baron March-
banks, who is supposed to be the prince of Wales
in disguise.

Chestnut, John M. Young man who has been in
love with Rags Martin-Jones for many years. He stages
an elaborate spectacle in order to win her love.

Este, Lord Charles Official in Baron March-
banks’s entourage.

Marchbanks, Baron Pseudonym of the man who
John M. Chestnut tells Rags Martin-Jones is the
prince of Wales but who is really an elevator-boy
named Cedric.

"Reunion at the Fair" 183

Martin-Jones, Rags Wealthy, beautiful young
woman who craves excitement and believes she
will never find it with an American man. How¬
ever, John M. Chestnut wins her love by staging an
elaborate spectacle for her.

Monte Man who warns John Chestnut that he
is being sought for murder. This is part of the spec¬
tacle Chestnut is staging for Rags Martin-Jones.

Witchcraft, Sir Howard George Captain of
the Majestic, the ship on which Rags Martin-Jones
returns to America.

“Rain Before Dawn”

Verse. The NASSAU LITERARY MAGAZINE 72 (Febru¬
ary 1917), 321; In His Own Time; Poems.

Fitzgerald included line 11 of this poem in This
Side of Paradise in “A Poem Amory Sent to Eleanor
and Which He Called ‘Summer Storm.’”

“Reade, Substitute Right Half”

Fiction. The St. Paul Academy Now and Then 2
(February 1910), 10-11; Apprentice Fiction.

Fitzgerald’s second publication. Reade, a small
boy who is called into the football game when
another player is injured, leads his team to vic¬
tory. Football was a symbol of unattainable glory
for Fitzgerald, who was learning to substitute writ¬
ing for action, as he acknowledged in “Author’s
House” (July 1936). ( See also “‘Football.’”)

CHARACTERS

Berl Captain of Reade’s football team.

Hearst Right tackle who is injured; Reade substi¬
tutes for the halfback who takes Hearst’s place.

Mridle Quarterback on Reade’s football team.

Reade A small football player who is called off
the bench and leads his team to victory.

Red-Headed Woman

MGM, 1932

In November 1931 Metro-Goldwyn-Mayer offered
Fitzgerald $750 a week for six weeks to rewrite a
screenplay for Jean Harlow (1911-37) by Bess
Meredyth (18901-1969) and C. Gardner Sullivan
(1879-1965), based on the 1931 novel Red-Headed
Woman by Katharine Brush (1902-52). Fitzgerald
was reluctant to delay work on his novel (Tender
Is the Night) and to leave Zelda Fitzgerald, who
had been released from PRANGINS Clinic in Septem¬
ber, but he accepted the offer when it was raised to
$1,200 a week because IRVING Thalberg, wanted
him for the job. Fitzgerald argued with his collabo¬
rator, Marcel DE Sano, but finished the screen¬
play in five weeks, returning to MONTGOMERY for
Christmas although MGM asked him to stay on for
rewrites. His screenplay was considered too serious
a treatment of a woman who advances by sex, and
the movie, directed by Jack Conway (1887-1952),
was made from a new screenplay by Anita LOOS.
Fitzgerald’s experiences during this HOLLYWOOD stay
provided the material for his 1932 story “Crazy Sun¬
day,” which he wrote instead of an article on “Holly¬
wood Revisited” that he had planned for Scribner’s
Magazine.

“Reminiscences of Donald
Stewart”

Parody. St. Paul Daily News, December 11, 1921,
City Life Section, p. 6; In His Own Time.

Humorous account of Fitzgerald’s friendship
with Donald Ogden Stewart when they were
both living in St. PAUL, Minnesota, in 1919.

“Reunion at the Fair”

Fiction—unfinished Pat Hobby story. Holograph
notes and incomplete draft facsimiled in F. Scott
Fitzgerald Manuscripts VI, Part 3, pp. 438^150.

184 Review of David Blaize by E. F. Benson

Pat Hobby and producer George Poupolous visit
the Golden Gate World’s Fair, where Pat meets a
swimmer with the Aquacade. Pat and Poupolous
encounter director Ligorna on their way to an art
gallery.

Review of David Blaize
by E. F. Benson

The Nassau Literary Magazine 72 (February 1917),
343-344; In His Own Time.

Fitzgerald suggests that this novel about an
English schoolboy by E. F. Benson (1867-1940)
“perhaps” belongs to the class of “really good boys’
stories” (In His Own Time, p. 114). He points out
the influence of COMPTON MACKENZIE and Rud-
yard Kipling (1865-1936) and concludes that “the
first two-thirds of the book is immensely entertain¬
ing, the last third disappointing” (p. 115).

Review of God, The Invisible
King by H. G. Wells

The Nassau Literary Magazine 73 (June 1917), 153;
In His Own Time.

Fitzgerald states that Wells “has added very lit¬
tle” to the “fad of rediscovering God.” He suggests
that the book should be welcomed “as an enter¬
taining addition to our supply of fiction for light
summer reading” (In His Own Time, p. 118).

Review of Penrod and Sam
by Booth Tarkington

The Nassau Literary Magazine 72 (January 1917),
291-292; In His Own Time.

Fitzgerald notes: “Mr. Tarkington has done
what so many authors of juvenile books fail to do:
he has admitted the unequalled snobbishness of
boyhood and has traced the neighborhood social

system which, with Penrod and Sam at the top,
makes possible more than half the stories” (In His
Own Time, p. 113).

Review of The Celt and the
World by Shane Leslie

The Nassau Literary Magazine 73 (May 1917), 104—
105; In His Own Time.

Fitzgerald calls Leslie’s book “a sort of bible of
Irish patriotism” (In His Own Time, p. 115) and
notes its emphasis on mysticism.

Review of Verses in Peace and
War by Shane Leslie

The Nassau Literary Magazine 73 Qune 1917), 152—
153; In His Own Time.

Fitzgerald suggests that the “same undercurrent
of sadness” found in Leslie’s prose gives his poetry
“a most rare and haunting depth” (In His Own
Time, p. 117).

“Rich Boy, The”

Fiction. Written April-August 1925. Redbook
46 Oanuary & February 1926), 27-32, 144, 146;
75-79, 122, 124-126; All the Sad Young Men; The
Last Tycoon.

After graduating from Yale, Anson Hunter
serves a brief wartime stint as an officer in the
naval aviation and then joins a New York broker¬
age firm where he eventually becomes a partner.
He falls in love with Paula Legendre, and the day
after they agree to marry, she reveals that she,
too, is rich. However, Anson’s drinking troubles
her, and they eventually break their engagement.
When Anson hears of Paula’s interest in Lowell
Thayer, he visits her and considers asking her
again to marry him, but he delays since he feels

'Rich Boy, The" 185

he is in control of the relationship. Anson cries
when Paula later writes to him of her engagement
to Thayer. Anson has an affair with Dolly Karger,
but the memory of Paula is still too strong for
him to be happy with Dolly; they break up, and
Dolly marries another man. Anson offers advice
to his young married friends and intervenes to end
his aunt Edna Hunter’s affair with Cary Sloane.
As he becomes older and his friends no longer
need him, Anson becomes lonely and dissatisfied.
In the Plaza Hotel he encounters Paula, who
has divorced Thayer and married Peter Hagerty
and is expecting her fourth child. The Hagertys
invite Anson to visit them in their summer house
at Rye, where he sees how happy they are together.
Anson’s business partners insist that he vacation
abroad that summer; just before he sails, he learns
of Paula’s death in childbirth.

Illustration for the first installment of the novelette.
(Bruccoli Collection of F. Scott Fitzgerald, University of
South Carolina)

Because of its length and complexity, “The Rich
Boy” is often classified as a novella or novelette, like
“Babylon Revisited” and “May Day.” Fitzgerald wrote
“The Rich Boy” on Capri while awaiting publication
of The Great Gatsby, which also analyzes the effects
of wealth on character and how wealth operates in
America; he revised it in PARIS. Before its publica¬
tion in Redbook, he sent a copy to Ludlow Fowler,
the model for Anson Hunter, but he was unable
to make the cuts Fowler requested until its appear¬
ance in ASYM. Fitzgerald revised the story heavily
between periodical and book publication, increasing
Anson’s self-centeredness and Paula’s appeal.

CRITICAL COMMENTARY

Ring Fardner told Fitzgerald that he should have
made “The Rich Boy” into a novel, but Fitzgerald
insisted that it had come to him in the shape of
a story and that it would have been impossible to
make it a novel. Another factor is that Fitzgerald
wrote it during a time when his drinking was getting
out of control, and he did not focus on his work as
steadily as he had during the composition of GG.
Despite Fitzgerald’s protestations, “The Rich Boy”
is written novelistically, with complex develop¬
ment, a narrative framework like GG’s, and too
much material for a short story. If Fitzgerald had
expanded the 17,000-word work into a GG-length
novel, it would have made a significant difference
in his critical reputation during the nine-year gap
between GG and Tender Is the Night.

The most significant literary aspect of the story
is Fitzgerald’s use of a partially involved narrator
who functions like Nick Carraway in GG. Like
Nick, he is a privileged outsider, reporting on and
documenting a world different from his own. Also
like Nick, he takes pains to persuade the reader of
his credibility. One way that he tries to gain the
reader’s trust is to emphasize that he is not one of
the rich, but he is like the reader—“you and me”
(p. 318). In fact, the entire first section of the story
is devoted to the narrator’s establishment of his
point of view.

He may not be as trustworthy a reporter as Nick,
however. Little hints of envy or resentment slip
in, such as the contrast between the small houses
of his youth and the Hunter estate. There are no

186 "Rich Boy, The'

obvious lies in his account, but the reader should
keep in mind that the narrator is shaping the story,
selecting and interpreting the facts he shares about
Anson. He reports on events he did not witness
and only sometimes documents his knowledge.
In the fifth section of the story, for example, he
describes lunching with Anson in New York after
Paula’s marriage and how he and Anson developed
a “special relation” (p. 329) after Anson confided
in him. Near the end of the story, after Paula’s
death, the narrator mentions that “for the first time
in our friendship he told me not a word of how he
felt” (p. 348). Although this may suggest that up to
that point he has been communicating an “inside”
look at Anson’s thoughts and feelings, it does not
counteract his initial proclamation that he is offer¬
ing his own interpretation: “The only way I can
describe young Anson Hunter is to approach him
as if he were a foreigner and cling stubbornly to my
point of view. If I accept his for a moment, I am
lost” (p. 318).

The unnamed narrator begins the story of his
friend Anson, a young man of wealth and privilege
with a strong sense of personal superiority, by ana¬
lyzing the “very rich”: “They are different from you
and me. They possess and enjoy early, and it does
something to them, makes them soft where we are
hard, and cynical where we are trustful, in a way
that, unless you were born rich, it is very difficult
to understand. They think, deep in their hearts,
that they are better than we are because we had to
discover the compensations and refuges of life for
ourselves” (p. 318).

Fitzgerald’s pronouncement is often misquoted.
Ernest Hemingway contemptuously misquoted it
in his 1936 story “The Snows of Kilimanjaro”: “He
remembered poor Scott Fitzgerald and his roman¬
tic awe of [the rich] and how he had started a
story once that began, ‘The very rich are different
from you and me.’ And how someone had said
to Scott, Yes they have more money” ( ESQUIRE, 6
[August 1936], p. 200). This anecdote has been
widely reported, with Hemingway identified as hav¬
ing delivered the rejoinder. However, MAXWELL
PERKINS explained that when he, Hemingway, and
critic Mary Colum (1884-1957) were having lunch,

Hemingway remarked, “I am getting to know the
rich,” and Mrs. Colum responded, “The only dif¬
ference between the rich and other people is that
the rich have more money” (A. Scott Berg, Max
Perkins: Editor of Genius, p. 305).

Fitzgerald’s attitude toward the rich has often
been misunderstood, partly because of his inability
to manage his own money. He was not a simple
worshiper of wealth or the wealthy, but rather he
valued wealth for the freedom and possibilities it
provided, and he criticized the rich primarily for
wasting those opportunities. He rightly identified
that money—both its presence and its absence—
does something to people.

“The Rich Boy” is not so much about wealth
itself as about the effect of wealth on character,
and the primary effect on Anson is an overpower¬
ing sense of superiority. Fitzgerald hammers home
this point with the repetition of the terms superior
or superiority nine times in the story, along with
related words such as pride, condescension, inferior,
and precedence. Anson’s sense of superiority origi¬
nates in his childhood when he becomes aware of
the deference of his neighbors and learns to accept
being at the center of any group as natural. It also
begins to isolate him very early: When he was not
automatically given precedence, “he withdrew into
his family” (p. 319), and in college he was not a
success because people mistook his independence
for egotism.

When Anson falls in love with Paula Legendre,
he sees an opportunity for happiness in enter¬
ing her “warm safe life” (p. 321). His admiration
for domestic life is asserted several times in the
story, but his superiority prevents him from ever
enjoying it himself. Anson and Paula come close
to marriage several times, but each time Anson
does something to block it. When Paula’s cousin
reports Anson’s drunkenness to Paula’s mother,
Mrs. Legendre decrees a brief separation. Even in
Anson’s apology there is no humility, and he still
comes off “with rather a moral superiority at the
end” (p. 324).

When Anson is ordered abroad, Paula decides
against a last-minute wedding because his breath
always smells of alcohol. When he returns from the

'Rich Boy, The" 187

war, there is no obstacle to prevent their marriage,
but they are unable to regain their old intimate
communication except by letters. When Anson
gets drunk and misses an engagement with Paula,
she makes “certain behavioristic demands” (p.
325), but he is not willing to concede, and their
engagement is broken. Alcohol is not the real issue,
for later Anson disciplines himself to stop drinking
for a year when he is refused a life insurance policy.
As much as Anson thinks he wants a life with
Paula, his sense of superiority always takes prece¬
dence: “His despair was helpless before his pride
and his knowledge of himself’ (p. 325).

Anson and Paula have one more chance for hap¬
piness together when he visits her in Palm Beach,
where she is being courted by Lowell Thayer. Paula
and Anson embrace passionately, and she longs for
him to ask her to marry him. He considers it but
decides to wait because he is confident that she is
his and that he is in control of their relationship.
“He need say no more, commit their destinies to no
practical enigma. Why should he, when he might
hold her so, biding his own time, for another year—
forever?” (p. 327). Two months later, Paula marries
Thayer, and Anson’s superiority is no consolation.
Fitzgerald’s characterization of Anson is generally
unsympathetic, but it is softened by the account
of Anson crying uncontrollably for three days after
losing Paula forever.

Anson’s loss of Paula is the fulcrum of the story,
occurring at the end of the fourth of eight parts.
The remainder of the story focuses on his life after
Paula, his increasing loneliness, and his attempts
to help other people as a means to reaffirm his
superiority. Mothers trust him with their daughters;
he teaches Sunday school, advises young married
couples, and intervenes in his Aunt Edna’s affair
to protect the honor of the Hunter family name.
He has an unsatisfactory relationship with Dolly
Karger and considers marrying another girl without
romantic love. By age 29 his “chief concern was
his own growing loneliness” (p. 341). His friends
are absorbed in their families and no longer need
his advice. Fitzgerald dramatizes Anson’s isolation
with a lengthy description of a Friday afternoon
with nothing to do when he can find none of his

old friends; he attempts to contact friends from so
long ago that one of the telephone exchanges he
calls no longer exists.

At that point he encounters Paula, who is preg¬
nant with her second husband’s child. He visits
their home, and Paula tells him “You’ll never set¬
tle down.” Anson resents the accusation, which he
feels is unmerited, and shifts the blame by saying
he could settle down “if women were different.”
He insists that a home is what he’s really made for,
yet claims he can’t “get through the preliminaries
any more” (p. 346). Paula has accurately identi¬
fied his inability to make a commitment. Anson
views other people simply as a means to the end
of reinforcing his superiority, which he “cherished
in his heart” (p. 349)—cherished to the extent
that there is no room in his heart for anyone but
himself.

Fitzgerald considered “The Rich Boy” “one
of the best things” he had ever done (to Fowler,
March 1925; Correspondence, p. 152).

CHARACTERS

Cousin Jo Paula Legendre’s cousin, who reports
to Mrs. Legendre that Anson Hunter was drunk at
a dinner party.

Hagerty, Peter Paula Legendre’s second husband,
with whom she is very happy.

Hunter, Anson Based on Ludlow Fowler.
Young man from a wealthy and socially prominent
family. Anson’s sense of personal superiority iso¬
lates him from love. His friend, the narrator, evalu¬
ates him thus: “I don’t think he was ever happy
unless some one was in love with him, responding
to him like filings to a magnet, helping him to
explain himself, promising him something. What
it was I do not know. Perhaps they promised that
there would always be women in the world who
would spend their brightest, freshest, rarest hours
to nurse and protect that superiority he cherished
in his heart” (p. 349).

Hunter, Edna Robert Hunter’s wife, who is
having an affair with Cary Sloane. When Anson

188 "Ring'

Hunter discovers the affair, he confronts his Aunt
Edna and her lover and threatens to tell Uncle
Robert and Sloane’s father unless Sloane leaves
town for six months.

Hunter, Robert Anson Hunter’s uncle and the
administrator of Anson’s father’s estate. He had
been Anson’s great friend during Anson’s youth,
but he gradually slips out of Anson’s life as he is
disappointed with the choices Anson makes after
college and the war. He is unaware of his wife
Edna Hunter’s affair, and Anson confronts Edna
and her lover to prevent Uncle Robert from being
hurt.

Karger, Dolly Wild young woman with whom
Anson Hunter becomes involved, though—as he
frequently tells her—he is not in love with her. His
memory of Paula Legendre twice prevents them
from consummating their relationship.

Legendre, Mrs. Paula Legendre’s mother, who is
distressed by Cousin Jo’s report that Anson Hunter
was drunk.

Legendre, Paula Wealthy and beautiful girl to
whom Anson Hunter is engaged before he goes
abroad to war. When he returns, they quarrel fre¬
quently and break their engagement. When Anson
hears of Paula’s interest in Lowell Thayer, he visits
her and considers asking her again to marry him;
but he delays since he feels that he is in control of
the relationship. Paula soon marries Thayer, whom
she later divorces. She then quickly marries Peter
Hagerty, with whom she is very happy, but she dies
in childbirth.

narrator (unnamed) Partially involved narrator
of “The Rich Boy,” similar to Nick Carraway in GG.
A middle-class man who is an outsider in Anson
Hunter’s world, he envies Anson and resents his
wealth and power. He meets Anson when they are
both officers in naval aviation in Pensacola, Flor¬
ida, in 1917. At various points in the narrative, he
explains that Anson has told him the events that
he is relating. At the end of the story, he sails for
Europe with Anson.

Nick Bartender with whom Anson Hunter remi¬
nisces at the Plaza Hotel.

Sloane, Cary Dissolute young man with whom
Edna Hunter is having an affair. When Edna’s
nephew Anson Hunter confronts them and threat¬
ens to tell Edna’s husband and Sloane’s father,
Sloane kills himself by jumping off a bridge.

Thayer, Lowell Paula Legendre’s first husband, a
wealthy Bostonian. He and Paula have three chil¬
dren before their divorce.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

Wolfe, Peter. “Faces in a Dream: Innocence Perpetu¬
ated in ‘The Rich Boy.’” In The Short Stories of E
Scott Fitzgerald: New Approaches in Criticism, edited
by Jackson R. Bryer (Madison: University of Wis¬
consin Press, 1982), 241-249.

“Ring”

Essay. The New Republic 76 (October 11, 1933),
254-255: The Crack-Up.

Tribute to Ring Lardner in which Fitzger¬
ald expresses his personal sense of loss as well
as regret for Lardner’s failure to live up to his
potential, which Fitzgerald attributed to Lardner’s
cynical attitude and to his early work as a base¬
ball reporter: “Ring got less percentage of himself
on paper than any other American of the first
flight” (CU, p. 38). He also recalled his friend’s
personality: “Proud, shy, solemn, shrewd, polite,
brave, kind, merciful, honorable—with the affec¬
tion these qualities aroused he created in addition
a certain awe in people. His intentions, his will,
once in motion, were formidable factors in deal¬
ing with him—he always did every single thing he
said he would do. Frequently he was the melan¬
choly Jaques, and sad company indeed, but under
any conditions a noble dignity flowed from him,

"Rubber Check, The" 189

so that time in his presence always seemed well
spent” (CU, p. 38).

“Room with the Green
Blinds, The”

Fiction. The St. Paul Academy Now and Then 3
(June 1911), 6-9; Apprentice Fiction.

An alternate version of the fate of John Wil¬
kes Booth. Robert Calvin Raymond inherits his
grandfather’s house, with the puzzling provi¬
sion that he not open a particular room “until
Carmatle falls.” Raymond discovers the initials
“J.W.B.” on the door of that room and asks Gov¬
ernor Carmatle of Georgia if he knows anything
about them. Carmatle accompanies Raymond to
his house, where he shoots John Wilkes Booth,
who had been hiding in the locked room. Carma¬
tle explains that Booth had stolen his son’s horse
and uniform and that it was his son, in Booth’s
clothes, who had been shot in a barn and iden¬
tified as Booth. Raymond agrees to keep silent
about Carmatle’s killing Booth.

CHARACTERS

Booth, John Wilkes (1838-1865) Historical fig¬
ure and character in “The Room with the Green
Blinds.” Assassin of President Abraham Lincoln
(1809-1865). Booth was shot by Union soldiers in
a burning bam near Bowling Green, Virginia. In
Fitzgerald’s fictional account, Booth escapes in a case
of mistaken identity.

Butler Detective who accompanies Governor
Carmatle to Robert Calvin Raymond’s house.

Carmatle, Governor Georgia governor who
served in the cavalry under Nathan Bedford Forrest
(1821-77) during the Civil War. He shoots John
Wilkes Booth to avenge the death of his own son.

Raymond, Robert Calvin Narrator of “The Room
with the Green Blinds.” Young man who inherits his
grandfather’s house, where he discovers John Wilkes
Booth hiding.

“Rough Crossing, The”

Fiction. Written March 1929. The SATURDAY EVE¬
NING Post 201 (June 8, 1929), 12-13, 66, 70, 75;
Stories.

Americans Adrian and Eva Smith and their
children are sailing to France. During the stormy
passage, they quarrel because of Adrian’s interest
in fellow passenger Betsy D’Amido, and Eva tosses
her pearls, a gift from Adrian, into the sea. Adrian
and Eva are reconciled after they are both knocked
unconscious when a wave washes over the boat,
and they resolve to believe that the whole trip was
a nightmare.

The stormy voyage is based on the Fitzgeralds’
1928 return from EUROPE.

CHARACTERS

Butterworth, Mr. Fellow passenger who is inter¬
ested in Eva Smith.

Carton, James Steward whom Eva Smith finds
sick in her cabin, who undergoes an appendectomy
during the storm, and who dies and is buried at

D'Amido, Elizabeth (Betsy) Pretty girl to whom
Adrian Smith is attracted while sailing to France.

Smith, Adrian Man who quarrels with his wife,
Eva Smith, over his interest in Betsy D’Amido dur¬
ing their voyage to France.

Smith, Eva Woman who quarrels with her hus¬
band, Adrian Smith, over his interest in Betsy
D’Amido during their voyage to France.

Stacomb, Mr. Fellow passenger who invites Adrian
Smith to play in the deck-tennis tournament.

“Rubber Check, The”

Fiction. Written May 1932. The SATURDAY EVE¬
NING Post 205 (August 6, 1932), 6-7, 41-42, 44-
45; The Price Was High.

190 "Rugged Novel, A"

Val Schuyler, who is unable to succeed in busi¬
ness, falls in love with wealthy, prominent Ellen
Mortmain. When she tells him she is leaving for
LONDON in a month, they decide to elope instead.
However, a check that he writes on his mother’s
account and that is accepted on the recommenda¬
tion of Ellen’s relatives, the Charles M. Templetons,
bounces because his mother temporarily refuses to
honor it. He is unable to face Ellen, and she leaves
town. Mrs. Templeton spreads word of the bounced
check, and the story grows out of proportion so
that Val seems like a major swindler; girls begin to
decline to dance with him because of his bad repu¬
tation. Just after he loses his job, his mother dies,
and he inherits a little money. When he travels to
London to propose to Ellen, he discovers that her
family’s fortune has disappeared; she rejects his pro¬
posal because she is engaged to another man. When
he leaves her, he discovers that he, too, has lost his
money in the Depression. He appeals to Charles
Templeton for a job, since Mrs. Templeton’s rumors
had hurt his reputation. Templeton gives him a job
on a farm, and his daughter, Mercia Templeton,
becomes interested in Val.

CHARACTERS

Halbird, June Girl to whose house party Ellen
Mortmain invites Val Schuyler.

Halbird, Mrs. Woman who tells Val Schuyler
that he is too old to be socializing with the young
people at her party and that most of the girls’ moth¬
ers feel the same way.

Lamb, Nancy Debutante at whose dance girls
begin to decline to dance with Val Schuyler because
of the rumors about his bounced check.

Mortmain, Ellen Wealthy girl with whom Val
Schuyler falls in love but who decides not to
elope with him after a bounced check damages his
reputation.

Mortmain, Mrs. Ellen Mortmain’s mother, who
initially accepts Val Schuyler because he knows his
place.

Pepin, Mrs. George Val Schuyler’s mother, who
has just married her fourth husband.

Schuyler, Val Young man whose social reputa¬
tion is ruined by a bounced check, the story of
which is blown out of proportion as it is spread.

Templeton, Charles Martin Mercia Templeton’s
father, who gives Val Schuyler a job on his farm.

Templeton, Mercia Ellen Mortmain’s cousin,
who dislikes Val Schuyler when she first meets him
but later becomes interested in him.

Templeton, V. (Mrs. Charles Martin Templeton)

Mercia Templeton’s mother, who spreads the rumor
of Val Schuyler’s bounced check.

Wrackham, Percy Branch manager who fires Val
Schuyler.

“Rugged Novel, A”

Review of The Love Legend by WOODWARD Boyd.
The Literary Review of the New York Evening Post,
October 28, 1922, pp. 143-144; In His Own Time.
An excerpt from this review was used as an adver¬
tisement in the Chicago Daily News, November 22,
1922, p. 13.

Fitzgerald, who had recommended the novel to
Scribners, generously called it “easily the best pic¬
ture of Chicago since ‘Sister Carrie’” (In His Own
Time, p. 136). He excused the book’s formless¬
ness as permissible in first novels and noted that
although it was not perfect, it was “honest, well
written, if raggedy, and thoroughly alive” (p. 137).

Safety First

Cincinnati, New York &. London: The John
Church Co., 1916. 21 song lyrics. A two-act musi¬
cal comedy presented by the PRINCETON TRIANGLE
CLUB; opening performance December 15, 1916.

Save Me the Waltz 191

Book by JOHN BlGGS, Jr., and J. F. Bohmfalk; music
by Paul B. Dickey, F. Warburton Guilbert, and
E. Harris; lyrics by Fitzgerald: “Prologue,” “Gar¬
den of Arden”; Act I—“Opening Chorus,” “Send
Him to Tom,” “One-Lump Percy,” “Where Did
Bridget Kelly Get Her Persian Temperament?,” “It
Is Art,” “Safety First,” “Charlotte Corday,” “Under¬
neath the April Rain,” “Finale—Dance, Lady,
Dance”; Act II, Scene 1—“Safety First,” “Hello,
Temptation,” “When That Beautiful Chord Came
True,” “Rag-Time Melodrama”; Scene 2—“Open¬
ing,” “Take Those Hawaiian Songs Away,” “The
Vampires Won’t Vampire for Me,” “The Hummin’
Blues,” “Down in Front,” “Finale.” Lyrics reprinted
in In His Own Time and Poems.

For academic reasons Fitzgerald was ineligible to
participate in the tour of Safety First, a satire set in
“a Futurist art community.”

“Salesmanship in the
Champs -Elysees”

Humor article. The New Yorker 5 (February 15,
1930), 20; In His Own Time.

A French car salesman describes his profession.
Written as if translated literally from the French.

Save Me the Waltz

Novel by Zelda Fitzgerald. New York: Charles
Scribner’s Sons, 1932.

Zelda’s only completed novel, written mainly in
a six-week period in February and March 1932 in
the Phipps Clinic. Like F. Scott Fitzgerald’s fic¬
tion, this book is autobiographical; Fitzgerald was
initially angry about what he perceived as his wife’s
encroachment on material that was his.

Alabama Beggs, a coddled Southern belle, mar¬
ries David Knight, a handsome Yankee artist whom
she meets during World War I, and they have a
daughter, Bonnie. David’s work is successful,
and they live a hectic, glamorous, but ultimately

unfulfilling “high life” in New YORK and EUROPE:
“Nobody knew whose party it was. It had been
going on for weeks. When you felt you couldn’t
survive another night, you went home and slept
and when you got back, a new set of people had
consecrated themselves to keeping it alive” ( Col¬
lected Writings, p. 95).

Alabama has a brief, unconsummated affair with
a French aviator, and David is also unfaithful. Rest¬
less and dissatisfied, Alabama decides to embark on
a career in ballet, enduring the physical pain of rig¬
orous training and the emotional pain of separation
from David and Bonnie. She accepts an offer from
the San Carlo Opera Ballet Company in Naples,
but blood poisoning from an infected blister in her
foot ends her dancing career. She, David, and Bon¬
nie return home to the South, where her father is
dying. His loss forces them to begin to ask them¬
selves, ‘“Why have we practically wasted the best
years of our lives?”’ ( Collected Writings, p. 191). At
the end of the novel, David and Alabama are sit¬
ting together in the twilight and the debris of yet
another party, feeling older and, perhaps, even a
little wiser.

Save Me the Waltz, published on October 7,
1932, at $2.00, was a commercial failure, selling
only about 1,400 copies of its initial printing of
3,010. After the cost of proof revisions was sub¬
tracted, the book earned $120.73. The novel was
badly copyedited and riddled with errors; readers
also reacted against the sometimes difficult, lushly
metaphorical style of Zelda Fitzgerald’s prose. Inter¬
est in this novel was reawakened with its republica¬
tion in 1967 by the Southern Illinois University
Press. Zelda Fitzgerald’s novel stands as a compan¬
ion volume to Fitzgerald’s work, an examination
of their life from a different perspective, and an
expression of her own voice.

FURTHER READING

Piper, Henry Dan. F. Scott Fitzgerald: A Critical Portrait.

New York: Holt, Rinehart and Winston, 1965, pp.
193-204.

Cary, Meredith. “Save Me the Waltz as a Novel,”

Fitzgerald/Hemingway Annual (1976): 65-78.

—Tracy Simmons Bitonti

192 Scandalabra

Scandalabra

Play by ZELDA FITZGERALD. Bloomfield Hills, Mich.
& Columbia, S.C.: Bruccoli Clark, 1980.

Zelda wrote this play in 1932 after her novel,
Save Me the Waltz, had been accepted for pub¬
lication by Scribners. She had wanted to begin
another novel, but Fitzgerald adamantly opposed
her use of subject material he felt was his, so she
turned to light drama. The result was this “Farce
Fantasy in a Prologue and Three Acts.”

Andrew Messogony and his wife, Flower, stand
to inherit $40 million from his uncle. The catch is
that they must live an irresponsible life of drinking
and misbehaving, which is the opposite of their
inclinations. To make herself appear disreputable,
Flower telephones the tabloids with a scandalous
story about herself and a man whose name she
picks from the telephone directory—Peter Conse¬
quential. When Andrew says he has had enough
of the dissipated charade, the butler reveals that
Andrew’s resistance was the result his uncle really
wanted, so the fortune is won.

The play’s dialogue is self-consciously clever,
with epigrams such as, “Life without pretensions
leaves us facing the basic principles, which are usu¬
ally a good deal worse and harder to unravel” ( Col¬
lected Writings, p. 222). Zelda’s love of language
and wit is evident even in the stage directions. For
example, at the beginning of Act Two, Scene 2,
the stage description includes: “A promontory juts
out like a theory of nebular physics trimming the blue
stage with a bias fold such as blue sailor collars chew
and left the rest an azure wash” (Collected Writings,

p. 241).

Scandalabra was performed by the VAGABOND
Junior Players in Baltimore June 26-July 1,1933.
Fitzgerald did what he could to encourage the pro¬
duction, including trimming the overlong script. But
the play was still rather confusing, and the reviews
were not favorable. Scandalabra was first published
in a limited edition by Bruccoli Clark in 1980. The
volume includes Meredith Walker’s discussion of
the differences in the two surviving texts of the play.
The play was republished in the 1991 Scribners vol¬
ume of Zelda Fitzgerald’s Collected Writings.

—Tracy Simmons Bitonti

“Scandal Detectives, The”

Fiction—Basil Duke Lee story. Written March
1928. The Saturday Evening Post 200 (April 28,
1928), 3-4, 178, 181-182, 185; Taps at Reveille;
The Basil and Josephine Stories.

Basil Duke Lee, age 14, and Riply Buckner
keep a “Book of Scandal” in which they record
the wrongdoings of their fellow townspeople. Basil
falls in love with Imogene Bissel and offers her his
school ring, but when she sees him with Marga¬
ret Torrence, she leaves with Hubert Blair. Con¬
sequently, Basil, Riply, and Bill Kampf disguise
themselves and plot to tie up Hubert and put him
in his own garbage can, but Basil backs down from
the plan when he discovers that he likes Hubert
after all. The experience makes Basil feel “morally
alone” and causes him to reconsider his ambition of
being a gentleman burglar.

Sources for this story are noted in Fitzgerald’s
Ledger for March 1911—“The founding of The
Scandal Detectives”—and April—“The Scandal
detectives go after Reuben” (p. 165).

CHARACTERS

Bissel, Imogene Girl who leaves Basil Duke Lee
for Hubert Blair. This character, based on Fitzger¬
ald’s St. Paul friend Margaret Armstrong, also
appears in “He Thinks He’s Wonderful” and “The
Captured Shadow.”

Blair, Mr. and Mrs. George P. Hubert Blair’s
parents. They are concerned about the warning
notes Hubert has received, and Mr. Blair calls the
police after Hubert encounters a “gang of toughs”
(really Basil Duke Lee, Riply Buckner, and Bill
Kampf wearing disguises) in an alley. Hubert and
his mother go to the shore for the summer as a
result of the incident.

Blair, Hubert The boys admire Hubert’s athletic
prowess, and the girls find him fascinating. Basil
Duke Lee, Riply Buckner, and Bill Kampf plan to
waylay him because Imogene Bissel preferred his
attention to Basil’s. This character, based on Fitzger¬
ald’s St. Paul friend and rival Reuben Warner, also

"Sensible Thing, The" 193

appears in “A Night at the Fair,” “He Thinks He’s
Wonderful,” and “The Captured Shadow.”

Buckner, Mrs. Riply Buckner’s mother, whom
Fitzgerald uses to describe the generation gap.

Buckner, Riply Jr. Riply and Basil Duke Lee
collaborate on a “Book of Scandal” and, with Bill
Kampf, plot to waylay Hubert Blair. This character,
based on Fitzgerald’s St. Paul friend CECIL Read,
also appears in “A Night at the Fair,” “He Thinks
He’s Wonderful,” and “The Captured Shadow.”

Davies, Connie One of the young people who
gather in the Whartons’ yard. This character also
appears in “He Thinks He’s Wonderful” and “The
Captured Shadow.”

Kampf, William S. (Bill) Boy whom Basil Duke
Lee and Riply Buckner recruit to help them in a
plot to waylay Hubert Blair. This character, based
on Fitzgerald’s St. Paul friend PAUL Ballion, also
appears in “He Thinks He’s Wonderful,” “The
Captured Shadow,” and “Forging Ahead.”

Learning, El wood Basil Duke Lee and Riply
Buckner record that he has been to a burlesque
show several times. This character also appears
in “A Night at the Fair” and “He Thinks He’s
Wonderful.”

Lee, Basil Duke See entry for this character
under The Basil and Josephine Stories.

Torrence, Margaret Margaret had been Basil
Duke Lee’s girl at dancing school, but he asks her
to return his ring, which he wants to give to Imo-
gene Bissel. This character, based on Fitzgerald’s
St. Paul friend Marie Hersey, also appears in
“He Thinks He’s Wonderful” and “The Captured
Shadow.”

“Self-Interview”

See “An Interview with F. Scott Fitzgerald.”

“ ‘Send Me In, Coach’ ”

Fiction. Written October 1936. Esquire 6 (Novem¬
ber 1936), 55, 218-221.

At Camp Rahewawa, Cassius, Bugs, Bill Watch¬
man, and Henry Grady are rehearsing a play about
a baseball team whose star player, Playfair, is dis¬
qualified because he played professional ball in the
summer. Bill Watchman learns that his father has
committed suicide after being acquitted at a trial.
The Old Man who runs the camp warns counselor
Rickey to stay away from his wife; he has arranged
for Rickey’s board and tuition at the state college
in the coming fall so that Rickey can play football
there.

CHARACTERS

Bugs (Trevellion) Small boy at Camp Rahewawa.

Cassius Stout boy at Camp Rahewawa.

Grady, Henry Boy at Camp Rahewawa.

the Old Man Man who runs Camp Rahewawa
and who warns counselor Rickey to stay away from
his wife.

Rickey Handsome, athletic counselor at Camp
Rahewawa whom the Old Man warns to stay away
from his wife and who has an agreement with the
Old Man to play football at the state college the
coming fall.

Watchman, Bill Boy at Camp Rahewawa who
learns that his father, Cyrus K. Watchman, has
committed suicide after being acquitted at a trial.

“Sensible Thing, The”

Fiction. Written November 1923. Liberty 1 (July
5,1924), 10-14; All the Sad Young Men.

George O’Kelly, who has always wanted to be
an engineer, has left an engineering job to work
as an insurance clerk so that he can earn enough
money to marry Jonquil Cary, the southern girl he

194 "Sensible Thing, The"

loves. When he receives a letter that indicates that
she is having doubts about marrying him, he asks
for vacation time to go visit her, and he loses his
job. During his visit she breaks their engagement
because “it doesn’t seem to be the sensible thing”
(p. 295). More than a year later, he returns to her,
having risen rapidly in an engineering job in Peru
and being on his way to a great opportunity for
success in New York. He wins Jonquil back, reluc¬
tantly accepting that he can never recapture the
freshness of their early love.

CRITICAL COMMENTARY

“The Sensible Thing” is one of the stories Fitzgerald
wrote after the failure of The Vegetable in order to
pay off debts and finish writing The Great Gatsby.
He wrote the story between the first and final drafts
of GG, and it has close connections with the nov¬
el’s themes of love and loss.

Fitzgerald told MAXWELL PERKINS that this was a
“Story about Zelda + me. All true” (June 1, 1925;
Ufe in Letters, p. 121; Scott/Max, p. 113). The autobi¬
ographical elements are clear. In the spring of 1919,
Fitzgerald was in the advertising business in New
York, but Zel da Sayre [Fitzgerald] in distant Ala¬
bama was unwilling to wait for him to succeed and
broke their engagement. Like George O’Kelly, hav¬
ing lost the girl, Fitzgerald returned to his true call¬
ing and achieved rapid success with the publication
of T his Side of Paradise, thereby winning her back.

The story’s emotional intensity derives from its
relation to Fitzgerald’s intertwining romances of
his love for Zelda and his early quest for success.
Fitzgerald may have been the last major 20th-cen¬
tury American writer to believe in and write about
this kind of romantic love. The romantic yearns
for the ideal, not the sensible, for perfection, not
reality. “The sensible thing” is inimical to the ideal.
When George acquiesces to Jonquil’s insistence on
practicality and achieves the financial success she
requires, he regains her love, but it is less satisfac¬
tory than the recklessness of romance. He wins the
girl and loses his ideal, but he is willing to accept
the trade-off.

The theme of romantic love is closely con¬
nected to the story’s other major theme of time,

which is its enemy. “The Sensible Thing” is
replete with time words. The story opens dur¬
ing lunch hour, and George is in a hurry. Noon
loitered, but George rushed into the subway. Even
an advertisement speaks of “keeping his teeth for
ten years” (p. 289). He begins to run to his apart¬
ment, where he rereads a letter from Jonquil, who
is waiting (p. 290). He returns to work at his
habitual run “that seemed best to express the ten¬
sion under which he lived” (p. 291). During his
visit to Tennessee, he tells Jonquil he came there
“to be happy and forget everything about New
York and time.”

The tension under which George lives is Jon¬
quil’s restlessness, her being “nervous” and unwill¬
ing to face “a life of poverty and struggle” by
marrying before he succeeds financially (pp. 290
& 291). As is so often the case in Fitzgerald, love
and money—or love and success—are inseparable.
George is in “one of those terrific messes which
are ordinary incidents in the life of the poor” (p.
290). As in “Winter Dreams” and GG, the poor
boy loves and aspires to the comparatively wealthy
girl. It’s an old plot, but Fitzgerald, through his lit¬
erary genius, makes it convincing because he lived
it himself. Even the hero’s sudden rise to fortune is
believable.

A significant aspect of this story is Fitzgerald’s
respect for work. He is often regarded as caring
only for parties, becoming a success in spite of him¬
self, though in fact he was a diligent craftsman. His
characters insist on fulfillment through achieve¬
ment to fulfill their romantic destiny. George
O’Kelly finds engineering romantic, and he loved
steel, which seemed to be “as paint and canvas to
his hand” (p. 290). But he gives up the dream to
find work that will be “more immediately profit¬
able” (p. 292) so that he will be “ready” to marry
Jonquil and provide for her financially. When she
rejects him and he suddenly prospers in Peru, how¬
ever, he realizes that “there was no triumph, after
all, without a girl concerned” (p. 298).

With triumph and the girl intertwined, George
senses “the past around him” and knows “that the
past sometimes comes back.” Unlike Jay Gatsby,
who wants to “repeat the past,” however, George is

"Shadow Laurels" 195

ultimately willing to accept that there is “never the
same love twice” (p. 301).

CHARACTERS

Cary, Jonquil Southern girl who breaks her
engagement to George O’Kelly because she fears
a life of poverty and struggle. Later, after he has
become successful, she agrees to marry him.

Cary, Mr. and Mrs. Jonquil Cary’s parents.

Chambers, Mr. Manager of the insurance com¬
pany where George O’Kelly works. He fires George
when the latter asks for vacation a second time in
two weeks.

Craddock, Mr. Young man who is waiting at the
station with Jonquil Cary when George O’Kelly
comes to visit her.

Holt, Jerry Young man who is waiting at the
station with Jonquil Cary when George O’Kelly
comes to visit her. Jerry takes them for a drive in
his new car.

O'Kelly, George Young man whose fiancee, Jon¬
quil Cary, breaks their engagement because he is
a failure. After he becomes a successful engineer,
their engagement is renewed. Although he realizes
that their love has lost its original freshness, he is
willing to accept love’s mutability.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New York:
Scribner, 1989).

“Sentiment—And the Use
of Rouge”

Fiction. The Nassau Literary Magazine 73 (June
1917), 107-123; Apprentice Fiction.

Clay Syneforth briefly returns to England after
two years of military service in World War I and is
disturbed by the changes he encounters in moral
values. After sleeping with his dead brother’s fian¬
cee, Eleanor Marbrooke, he returns to the war and
is fatally wounded. As he is dying, he reflects on
the “muddle” the world is in—thoughts that were
transferred to Amory Blaine in the final chapter of
This Side of Paradise.

CHARACTERS

Marbrooke, Eleanor The late Dick Syneforth’s
fiancee, who explains to Clay Syneforth the moral
changes the war has brought to England and who
sleeps with him before he returns to the war.

O'Flaherty, Sergeant Dying Irish soldier who
discusses religion and the difference between the
English and the Irish with Clay Syneforth.

Syneforth, Clara Clay Syneforth’s younger sister,
whom he rebukes for wearing too much makeup.

Syneforth, Lt. Clay Harrington Young man
who is disturbed by the changes he encounters in
moral values when he returns to England during
World War I. He is later killed in battle.

Syneforth, Lt. Richard Harrington (Dick) Clay
Syneforth’s elder brother and Eleanor Marbrooke’s
fiance, who was killed in World War I.

“Shadow Laurels”

Play. The Nassau Literary Magazine 71 (April
1915), 1-10; Apprentice Fiction.

Jaques Chandelle, who left France for America
28 years before, returns to PARIS to seek informa¬
tion about his dead father. In Pitou’s wine shop, he
learns that his father was a drunkard and meets his
father’s three closest friends, who loved him for giv¬
ing expression to their lives.

196 "Shaggy's Morning"

“Shadow Laurels” was Fitzgerald’s first literary
exploration of his feelings about his father, Edward
Fitzgerald.

CHARACTERS

Chandelle, Jaques Wealthy man who returns to
Paris after a 28-year absence to seek information
about his dead father, Jean Chandelle.

Chandelle, Jean Jaques Chandelle’s father, who
died five years after Jaques left France for America.
A drunkard who was greatly loved by his friends for
giving expression to their lives.

Destage One of Jean Chandelle’s three closest
friends, who tell Jaques Chandelle what Jean had
meant to them.

Lamarque One of Jean Chandelle’s three closest
friends, who tell Jaques Chandelle what Jean had
meant to them.

Meridien, Francois One of Jean Chandelle’s
three closest friends, who tell Jaques Chandelle
what Jean had meant to them.

Pitou Wine dealer who tells Jaques Chandelle
that his father, Jean Chandelle, was a drunkard and
who introduces him to his father’s friends.

“Shaggy’s Morning”

Fiction. Written March 1935. ESQUIRE 3 (May
1935), 26, 160.

A dog named Shaggy looks for amusement while
his owners, the Brain and the Beard, are away for
the day. He socializes with two dogs referred to as
“the Squirt” and “my friend,” the latter of which
is hit by a car. Possibly intended as a parody of
Ernest Hemingway’s work.

CHARACTERS

the Beard One of Shaggy’s owners,
the Brain One of Shaggy’s owners.

my friend Shaggy’s friend, a dog who is hit by a

Shaggy Dog who seeks amusement while his own¬
ers, the Brain and the Beard, are away for the day.

the squirt Little dog who lives next door to
Shaggy.

“Sherwood Anderson on the
Marriage Question”

Review of Many Marriages by SHERWOOD ANDER¬
SON. New York Herald, March 4, 1923, section 9, p.
5; In His Own Time.

Fitzgerald describes the method as “Anderson’s
accustomed transcendental naturalism” (In His
Own Time, p. 139) and notes that the novel “casts
a curious and startling light on the entire relation
between man and woman” (p. 140).

“Short Autobiography
(With Acknowledgments to
Nathan), A”

Prose sketch. The New Yorker 5 (May 25, 1929),
22-23.

Yearly inventory of Fitzgerald’s drinks from 1913
to 1929.

“Short Trip Home, A”

Fiction. Written October 1927. The SATURDAY
Evening Post 200 (December 17, 1927), 6-7, 55,
57-58; Taps at Reveille.

Ellen Baker breaks a date with Joe Jelke for the
Cotillion Club dance in St. Paul, Minnesota, to
meet a mysterious, sinister man (Joe Varland), who
hits Jelke with brass knuckles when he interferes.

"Short Trip Home, A" 197

Eddie Stinson asks where she met the man; she says
she met him on the train and warns Eddie to mind
his own business. The next day Eddie sees the man
outside a pool hall, but the man disappears and no
one else has seen him. When Ellen’s mother tells
Eddie that Ellen is leaving that night to visit friends
in Chicago on her way back to school, he is relieved
until he remembers that those friends are in Florida
for Christmas. He follows Ellen to Chicago and
tries to keep her from meeting the man. He notes
a change in her behavior and expression whenever
they discuss the man, and he senses an evil pres¬
ence. When he leaves Ellen’s train compartment,
he encounters the man, who warns him to get off
the train. Eddie realizes that the man, who seems
to be fading except when he draws strength from
preying on people, is a ghost. The man collapses,
and Eddie sees that the sleeping Ellen is herself
again. Three months later Eddie returns to the pool
hall, in search of information about the man. He
discovers that the man, named Joe Varland, had
died last winter and that he had made money by
preying on girls traveling alone on trains.

CRITICAL COMMENTARY

Fitzgerald described “A Short Trip Home” as “the
first real ghost story I ever wrote” (late October
1927; As Ever, p. 102). He effectively uses the
supernatural element to connect sexual corruption
with death.

The story is narrated in the first person by Eddie
Stinson, who is attracted to Ellen but regards her as
unapproachable. From the beginning he describes
her in otherworldly terms. There is “bewitchment”
in her attractiveness and confidence, and she is
“sliding into another world”—the wealthy society
of her suitor Joe Jelke (p. 372). Eddie quickly dis¬
covers that there is another less-pleasant world into
which she is sliding—the world of the evil, spectral
Joe Varland.

When Ellen receives a note from Varland, Eddie
observes that her eyes fade like the weakening of
an electrical current. Varland is hard, sinister, and
brutal, with animal-like eyes and a look of being
capable of profiting by the weakness of others. He
reminds Eddie of the type of men who had fright¬

ened him in youth and who represented a “dim
borderland” (p. 375).

Eddie is surprised that Ellen seems so helpless
in Varland’s presence when he threatens Joe Jelke.
When she warns Eddie to mind his own business,
Eddie is shocked by the incongruity between her
attitude and her fresh, delicate, glowing beauty.
It seems that she is trying to recapture an old atti¬
tude; then she hardens again, and Eddie notices
that when she thinks of Varland, her eyelids fall
and shut all else out of her vision. Just as Varland
has power over Ellen, Ellen has power over Eddie,
who could warn her but is “too much under the
spell of her beauty and its success” (p. 376), so that
he even begins to find excuses for her, despite his
sense of foreboding.

When Eddie realizes that Ellen has lied to her
mother about visiting friends so that she can meet
Varland, he drops any idea that the situation is
harmless. He asserts that he is no moralist but rec¬
ognizes that there is “another element here, dark
and frightening” (p. 381) that he does not want
Ellen to deal with alone. When he confronts Ellen
at the train station, he sees “dumb-animal-like
resistance” in her face (p. 382), then she snarls at
him to leave her alone. When she tries to persuade
him that she just wants to say goodbye to Varland,
he sees no trace of sincerity and fairness in her face,
and he senses “a contagion of evil in the air” (p.
383).

As Eddie tries to get Ellen to their train East,
he realizes that his “warm, respectable world” has
dropped away and that he and Ellen are carry¬
ing something with them “that was the enemy
and the opposite of all that” (p. 384). Eddie even
begins to wonder, with panic, whether he is begin¬
ning to slip into Ellen’s frame of mind, and he
senses unreality all around him on the train. Ellen
hunches in a corner with filmy eyes, almost in a
state of “suspended animation of body and mind”
(p. 385).

Eddie encounters Varland in the train cor¬
ridor and realizes that the man is dead and weak,
yet he feels a “slow, calculated assault . . . word¬
less and terrible” (p. 386) that almost overcomes
his abhorrence to Varland and makes him weak

198 "'Show Mr. and Mrs. F. to Number-

and indifferent. When Eddie guesses the truth
that Varland had died or been killed nearby,
it seems as if a door opened behind Varland,
“yawning out to an inconceivable abyss of dark¬
ness and corruption” (p. 388). Varland wilts and
fades away, and Ellen is freed of “what had pos¬
sessed her” (p. 388).

Fitzgerald borrowed the first description of Joe
Varland for the news vendor in Tender Is the Night
(Book I, Chapter 21) and included a footnote
with the story in TAR apologizing for seeming to
serve “warmed-over fare.” In his review of The Last
Tycoon, which included five of Fitzgerald’s stories,
James Thurber noted, “I mourn the absence of ‘A
Short Trip Home’ whether you do or not” (“Taps
at Assembly,” New Republic 106 [February 9, 1942],
211-212; F. Scott Fitzgerald: The Critical Reception,
p. 382).

CHARACTERS

Baker, Ellen Young woman who is preyed on by
the spectre of Joe Varland.

Baker, Mrs. Ellen Baker’s mother.

Cathcart, Jim Young man who tells Eddie
Stinson that Joe Varland hit Joe Jelke with brass
knuckles.

Catherine Jim Cathcart’s date at the Cotillion
Club dance.

Jelke, Joe Yale senior and one of the most eli¬
gible young men in St. Paul.

Shorty Man at a pool hall who informs Eddie
Stinson that Joe Varland is dead and tells him
about Varland’s racket.

Stinson, Eddie Narrator of “A Short Trip
Home.” Yale sophomore from St. Paul who rescues
Ellen Baker from the spectre of Joe Varland.

Varland, Joe Sinister man who preyed on girls
traveling alone on trains and whose ghost haunts
Ellen Baker.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

“ ‘Show Mr. and Mrs. F.
to Number-’ ”

Autobiographical article. ESQUIRE 1 & 2 (May
& June 1934), 19, 154B; 23, 120; The Crack-Up.
Bylined “F. Scott and Zelda Fitzgerald,” but cred¬
ited to Zelda Fitzgerald in Ledger; written by
Zelda and revised by Fitzgerald.

Description of the hotels that the Fitzgeralds
visited during their travels over the years.

“Six of One—”

Fiction. Written July 1931. Redbook 58 (February
1932), 22-25, 84, 86, 88; The Price Was High.

Jack Schofield brags to his friend Ed Barnes
about his sons and their friends—Wister Schofield,
Charley Schofield, Howard Kavenaugh, another
Kavenaugh, Larry Patt, and Beau Lebaume—who
he says remind him of “young knights.” Barnes does
not share Schofield’s optimism about their future;
he says he could pick six boys from the high school
in his little Ohio hometown who could match them.
Barnes chooses Otto Schlach, James Matsko, Jack
Stubbs, George Winfield, Louis Ireland, and Gor¬
don Vandervere and helps them through college.
All six of them achieve a measure of success, but of
Schofield’s six, only his son Charley and Larry Patt
turn out well. Barnes reflects on the fates of the six
boys who were “brought up as princes with none of
the responsibilities of princes” and regrets “all that
waste at the top” (p. 679).

“Six of One—,” written as “Half a Dozen of
the Other,” is one of the strongest expressions of
Fitzgerald’s regret that wealth and privilege are sel¬
dom combined with seriousness and responsibility.

"Sleeping and Waking" 199

CHARACTERS

Barnes, Ed Man who helps six boys from his
Ohio hometown through college in an experiment
to match the six wealthy, privileged boys about
whom his friend Jack Schofield brags.

Crosby, Esther Gordon Vandervere’s fiancee.

Daley, Irene Actress who files a lawsuit for inju¬
ries received in a car wreck with Howard Kav-
enaugh, Beau Lebaume, Wister Schofield, and
George Winfield.

Ireland, Louis Brilliant scholar who is insubor¬
dinate and eccentric but whom Ed Barnes helps
through college and who becomes a sculptor in
Europe.

Irving, Gladys Young married woman with whom
Charley Schofield has been flirting.

Kavenaugh Howard Kavenaugh’s younger brother,
who cannot get into college and who marries a
manicurist.

Kavenaugh, Howard Wealthy young man who
is expelled from Yale for his involvement in a
drunk-driving accident. He elopes with a girl whom
he later divorces.

Lebaume, Beau Young man whose life becomes
a mess after he is suspended from Yale for his
involvement in a drunk-driving accident.

Matsko, James Industrious young man whom Ed
Barnes persuades to study money and banking at
Columbia and who becomes a partner in a Wall
Street brokerage house.

Patt, Larry Golfer who drops out of college and
opens a chain of sporting-goods stores.

Schlach, Otto A farmer’s son whom Ed Barnes
helps through the Massachusetts Institute of Tech¬
nology and who becomes a prominent consulting
engineer.

Schofield, Charley Jack Schofield’s younger
son, who was expelled from Hotchkiss for smoking.
He enters Yale with the encouragement of Gladys
Irving, a young married woman with whom he has
been flirting. After graduation he runs his father’s
business.

Schofield, Jack Man whose boasting about his
sons and their friends leads Ed Barnes to help six
boys from his hometown through college to see if
they turn out as well.

Schofield, Wister Jack Schofield’s older son,
who is expelled from Yale after having a wreck
while driving drunk and who lacks ambition.

Stubbs, Jack Young man who plays high-school
football despite the loss of an arm while hunting.
Ed Barnes helps him through PRINCETON and hires
him when he graduates.

Vandervere, Gordon Young man whom Ed
Barnes helps through college. He plans to marry
Esther Crosby and go into the diplomatic service.

Winfield, George Young man who is finish¬
ing high school late because he had to drop out
to support his family after his father’s death. Ed
Barnes helps send him to Yale, but he drops out
after being suspended for his involvement in a
drunk-driving accident. He ends up working for
Jack Schofield.

“Sleeping and Waking”

Autobiographical essay. ESQUIRE 2 (December
1934), 34, 159-160; The Crack-Up.

An account of Fitzgerald’s insomnia. Though he
attempts to induce sleep through dreams of glory
on the football field or in war, he is haunted instead
by a sense of “Waste and horror—what I might
have been and done that is lost, spent, gone, dis¬
sipated, unrecapturable” (CU, p. 67). The happy
dream that finally comes with sleep includes a six-

200 "Sleep of a University"

line poem that has become Fitzgerald’s best-known
verse and which he incorporated into “Thousand-
and-First Ship.”

“Sleep of a University”

Verse. The Nassau Literary Magazine 76
(November 1920), 161; In His Own Time; Poems.

Fitzgerald’s “paraphrase” of “Princeton Asleep”
by Aiken Reichner, published in the same issue of
the Nassau Lit (p. 158).

“Smilers, The”

Fiction. Written September 1919. The SMART Set
62 (June 1920), 107-111; The Price Was High.

Sylvester Stockton is continually annoyed by the
smiles of friends and strangers. He assumes people
are smiling because they are unacquainted with
misery and think that they will always be happy.
He does not realize that the people he encounters,
such as Betty Tearle, Waldron Crosby, and a waiter
named Jerry, have their own problems.

CHARACTERS

Crosby, Waldron Sylvester Stockton’s old
friend who has just lost all his money, whose wife
is expecting a baby, and who persuades his friend
Donny to hire him as a clerk.

Jerry Hotel waiter whose former girlfriend is now
a dancer at a cheap restaurant.

Potter Stockbroker who informs Waldron Crosby
that he has lost all his money.

Stockton, Sylvester Man who is irritated by the
smiles of other people.

Tearle, Betty Woman with whom Sylvester Stock-
ton had once been in love and who leaves her hus¬
band and children.

“Snobbish Story, A”

Fiction—Josephine Perry story. Written September
1930. The Saturday Evening Post 203 (Novem¬
ber 29, 1930), 6-7, 36, 38, 40, 42; The Basil and
Josephine Stories.

While at Lake Forest, Josephine Perry meets
reporter John Boynton Bailey, who asks her to be in
his play, “Race Riot,” which she asks her father to
back financially. Bailey’s wife, Evelyn, jealous of his
attention to Josephine, attempts suicide, and Mr.
and Mrs. Perry worry about how close Josephine
came to scandal. Josephine decides that her value
lies “in the immediate, shimmering present” and
throws in her lot with “the rich and powerful of this
world forever” ( B&J , p. 269).

CHARACTERS

Bailey, John Boynton Reporter for the Chicago
Tribune whom Josephine Perry meets at Lake For¬
est. His wife, Evelyn, attempts suicide as a result of
his attention to Josephine.

Bement, Ed Josephine Perry’s earliest beau, from
dancing school days. He is at the dance at Lake
Forest. This character also appears in “First Blood,”
“A Nice Quiet Place,” “A Woman with a Past,”
and “Emotional Bankruptcy.”

de Coppet, Travis Young man who usually dances
in the vaudeville with Josephine Perry, but this year
she is not in the program. This character also appears
in “First Blood” and “Emotional Bankruptcy.”

Donald Mrs. McRae’s nephew, whom she asks
Josephine Perry to introduce to the other young peo¬
ple at Lake Forest. He wins the tennis tournament.

Evelyn John Boynton Bailey’s wife, who is angry
that John is not giving her a role in his play. Jealous
of his attention to Josephine Perry, she attempts
suicide.

Hammel, Lillian Josephine Perry’s friend, who is
at the dance at Lake Forest. This character also

'Spire and the Gargoyle, The" 201

appears in “First Blood,” “A Nice Quiet Place,” “A
Woman with a Past,” and “Emotional Bankruptcy.”

Hammerton, Elsie Woman whose play is rejected
in favor of John Boynton Bailey’s “Race Riot.”

Kelly, Mr. Constable who comes to the Perrys’
house to tell John Boynton Bailey that his wife,
Evelyn, has attempted suicide.

McRae, Mrs. Jenny Woman who wants to omit
from the vaudeville Josephine Perry’s usual dance
with Travis de Coppet because of the circumstances
surrounding Josephine’s departure from school. Her
husband persuades her to reconsider, and she asks
Josephine to introduce her nephew, Donald, to the
other young people at Lake Forest. This character
also appears in “First Blood.”

Page, Howard College student who is at the Per¬
rys’ house when John Boynton Bailey joins them for
lunch. This character also appears in “First Blood.”

Perry, Mr. and Mrs. George (Herbert T.) Jo¬
sephine Perry’s parents. Josephine is shocked when
she sees her father at lunch with a peroxide blonde.
It turns out that he was bribing the woman to leave
Mrs. Perry’s brother alone. These characters also
appear in “First Blood,” “A Nice Quiet Place,” and
“A Woman with a Past.”

Perry, Josephine See entry for this character
under The Basil and Josephine Stories.

“Some Interrupted Lines
to Sheilah”

Poem. Fair-copy manuscript facsimiled on the rear
endpaper of Beloved Infidel by Sheilah Graham
and Gerold Frank (New York: Holt, 1958); Poems
1911-1940.

Poem for Sheilah Graham, Fitzgerald’s compan¬
ion in Hollywood.

“Southern Girl”

Fiction by Zelda Fitzgerald. College Humor 18
(October 1929), 27-28, 94, 96; Bits of Paradise;
Zelda Fitzgerald: The Collected Writings. Bylined “F.
Scott and Zelda Fitzgerald” but credited to Zelda
in Ledger.

Harriet runs her family’s boarding house in the
southern town of Jeffersonville. Dan Stone, a sol¬
dier from Ohio, breaks his engagement to Louise
when he falls in love with Harriet. When Harriet
later visits Dan in Ohio, she seems out of place in
his wealthy, quiet family home, and he breaks his
engagement to Harriet to marry Louise. Harriet
returns to the South and later elopes with Charles,
who is from Ohio; she names their baby Dan.

“Spire and the Gargoyle, The”

Liction. The Nassau Literary Magazine 72 (Leb-
ruary 1917), 297-307; Apprentice Fiction.

Some material from this story was incorporated into
This Side of Paradise in the segment titled “A Damp
Symbolic Interlude.” An undergraduate who flunks
out of the university has three encounters with
the preceptor who grades his final exam: immedi¬
ately after the exam, five years later in a New York
museum, and on a train returning to the university
campus. The preceptor, who left for a higher-pay¬
ing job teaching high school, regrets his departure
from the university, but the undergraduate senses
a greater loss because the campus symbolizes aspi¬
rations left unfulfilled. Although PRINCETON is not
named in the story, it clearly expresses Litzgerald’s
love for Princeton and his regret at wasted opportu¬
nities there.

CHARACTERS

preceptor (unnamed) Instructor whom a fail¬
ing undergraduate perceives as a gargoyle.

undergraduate (unnamed) Young man who
squanders his freshman year and flunks out of the
university. Years later he visits the campus, which

202 "Staying Up All Night, The'

for him symbolizes aspiration, and is overwhelmed
by his own failure.

“Staying Up All Night, The”

Humor article. The PRINCETON TlGER 28 (Novem¬
ber 10, 1917), 6; In His Own Time.

List of what takes place when someone stays up
all night.

Stories of F. Scott Fitzgerald,
The

Story collection. Selected with an introduction by
Malcolm Cowley. New York: Charles Scribner’s
Sons, 1951. Contents: “The Diamond as Big as the
Ritz,” “Bernice Bobs Her Hair,” “The Ice Palace,”
“May Day,” “Winter Dreams,” ‘“The Sensible Thing,’”
“Absolution,” “The Rich Boy,” “The Baby Party,”
“Magnetism,” “The Last of the Belles,” “The Rough
Crossing,” “The Bridal Party,” “Two Wrongs,” “The
Scandal Detectives,” “The Freshest Boy,” “The Cap¬
tured Shadow,” “A Woman with a Past,” “Babylon
Revisited,” “Crazy Sunday,” “Family in the Wind,”
“An Alcoholic Case,” “The Long Way Out,” “Financ¬
ing Finnegan,” “A Patriotic Short,” “Two Old-Timers,”
“Three Hours Between Planes,” “The Lost Decade.”
This collection contributed to the Fitzgerald REVIVAL.

“Strange Sanctuary”

Fiction. Liberty 16 (December 9, 1939), 15-20.

Thirteen-year-old Dolly Haines meets 15-year-
old Clarke Cresswell while visiting the Appletons
because her father, Morton Haines, is ill. Her
father tells her to call on her uncle Charlie Craig,
who has just returned to town. When she goes to
Uncle Charlie’s house, she meets Major Redfem
and Miss Willie Shugrue, who tell her that her
uncle is sick and that they are taking care of him.
Dolly becomes suspicious and discovers that her

uncle is not even there. Redfern and Shugrue are
discovered to be thieves, and Uncle Charlie and
Dolly’s father return home.

“Strange Sanctuary” was originally written as
“Make Yourself at Home,” a story in the pro¬
jected series about Gwen Bowers, but after The
Saturday Evening Post declined it, Fitzgerald
changed the characters’ names in order to sell it
elsewhere.

CHARACTERS

Appleton, Lila Mrs. Appleton’s daughter, who
resents Dolly Haines’s visit because her use of the
guest room prevents Lila’s friends from visiting.

Appleton, Mrs. Woman whose family Dolly
Haines is visiting while her father is sick.

Craig, Charlie Dolly Haines’s uncle, whose home
she visits. During his absence his house is occupied
by thieves who call themselves Major Redfem and
Miss Willie Shugrue.

Cresswell, Clarke Fifteen-year-old boy who
meets Dolly Haines at the Appletons’ house and
who helps her break into her Uncle Charlie Craig’s
house when she suspects that his guests are lying to
her about his illness.

Duckney, Angela Debutante to whom Dolly
Haines introduces Major Redfern.

Haines, Dolly Thirteen-year-old girl who is vis¬
iting various friends while her father is sick. She
becomes friends with Clarke Cresswell, who helps
her break into her Uncle Charlie Craig’s house
when she suspects that his guests are lying to her
about his illness.

Haines, Morton Dolly Haines’s father, who is in
New Mexico because of his arthritis.

Hamilton, John Boy at the Halloween party that
Dolly Haines attends.

Hazeldawn Woman who escorts Dolly Haines
to Mrs. Appleton’s house.

'Swimmers, The" 203

Morrison, Hep J. Major Redfem’s “business rival,”
whose presence in Baltimore persuades Redfem to
try Atlanta instead.

Redfern, Major Thief who poses as Charlie
Craig’s houseguest and tells Craig’s niece, Dolly
Haines, that her uncle (who is not really at home)
is too ill to see her.

Shugrue, Miss Willie Thief who poses as Charlie
Craig’s trained nurse and tells Craig’s niece, Dolly
Haines, that her uncle (who is not really at home)
is too ill to see her.

Terhune, Miss Grace Assistant headmistress
of Dolly Haines’s school; Clarke Cresswell’s aunt,
whom he is visiting.

“Swimmers, The”

Fiction. Written July-August 1929. The SATURDAY
Evening Post 202 (October 19,1929), 12-13,150,
152,154; Bits of Paradise.

Henry Clay Marston, a Virginian living in
Paris, suffers a nervous collapse after discovering
his French wife, Choupette Marston, in a compro¬
mising situation. While he is recovering, he and
his family go to the shore, where an American
girl teaches him to swim. The Marstons return to
America for three years, and Choupette becomes
involved with Charles Wiese. Henry tells them
that he wants a divorce but that Choupette can¬
not have custody of the children. Henry, Chou¬
pette, and Wiese go for a ride in a motorboat, and
Wiese reveals that he has obtained a document
from a mental specialist declaring Henry unfit to
have custody of his children. When the motorboat
stalls, Henry—the only one of the three who can
swim—offers to swim for help only if they grant
him custody of the children. After his divorce
Henry returns to Europe and again encounters
the American girl on his ship. As he looks back
at his homeland, he reflects on his feelings about
America.

CRITICAL COMMENTARY

Fitzgerald described “The Swimmers” as “the hard¬
est story I ever wrote.” He also noted that it was
“too big for its space” (c. August 1929; As Ever, p.
142). This patriotic story appeared just before the
Wall Street crash in October 1929.

Fitzgerald’s depiction of a troubled marriage in
“The Swimmers” reflects the growing problems in
his own marriage. It is more significant, however, for
its exploration of Fitzgerald’s attitude toward Europe
as a place that damages Americans and for his deep
identification with America’s history and prom¬
ise. Also noteworthy is his redefinition of the “lost
generation,” which Gertrude Stein and Ernest
HEMINGWAY identified with the veterans of World
War I. Fitzgerald, on the other hand, identifies the
prewar generation, currently “in the saddle” as the
“lost generation” and suggests “that the men coming
on, the men of the war, were better” (p. 512).

As the story opens, Henry Marston dislikes
his own country and believes that his questions
“could be answered only in France” (p. 496). The
discovery of his French wife’s promiscuity brings
disillusionment, however, and the American girl
who teaches him to swim reminds him of “his
ever-new, ever-changing country” (p. 501). When
he takes his family to America, he classifies Chou¬
pette with “all foreigners” (p. 503). He finds ref¬
uge in swimming and reflects that “Americans,
restless and with shallow roots, needed fins and
wings” (p. 506). In a somewhat gimmicky plot
twist, he outsmarts Choupette and her lover, who
declares that “money is power” (p. 508), and he
gains custody of his children and freedom from his
unfaithful wife.

“He had come home as to a generous mother
and had been profusely given more than he
asked—money, release from an intolerable situa¬
tion, and the fresh strength to fight for his own”
(pp. 511-512). As he returns to Europe, he has
“a sense of overwhelming gratitude and of glad¬
ness that America was there, that under the ugly
debris of industry the rich land still pushed up,
incorrigibly lavish and fertile, and that in the heart
of the leaderless people the old generosities and
devotions fought on, breaking out sometimes in

204 Tales of the Jazz Age

fanaticism and excess, but indomitable and unde¬
feated. . . . The best of America was the best of the
world” (p. 512).

On his return voyage to Europe, he eloquently
reflects—in a much-quoted coda—on what makes
America unique: “France was a land, England was a
people, but America, having about it still that quality
of the idea, was harder to utter—it was the graves at
Shiloh and the tired, drawn, nervous faces of its great
men, and the country boys dying in the Argonne for
a phrase that was empty before their bodies withered.
It was a willingness of the heart” (p. 512).

CHARACTERS AND PLACE
Derocco, Doctor French physician who attends
Henry Clay Marston after Marston’s collapse.

girl (unnamed) American whom Henry Clay
Marston tries to rescue from drowning in France,
although he does not know how to swim, and who
later teaches him to swim. He encounters her again
in Virginia four years later and on the ship as he
returns to Europe.

Marston, Choupette Henry Clay Marston’s
French wife, whom he divorces after her repeated
infidelities.

THE SWIMMERS

Illustration for one of Fitzgerald's stories contrasting
American and French values. (Bruccoli Collection of
F. Scott Fitzgerald, University of South Carolina)

Marston, Henry Clay Virginian living in Paris
who suffers a nervous collapse when he discovers
his French wife, Choupette Marston, in a compro¬
mising situation. When she is again unfaithful dur¬
ing their three-year stay in America, he divorces
her and returns to Europe.

St. Regis Fictional prep school in This Side of
Paradise, “The Family Bus,” “Inside the House,”
“The Swimmers,” “The Freshest Boy” and “The
Perfect Fife”; based on the NEWMAN SCHOOL. In
“The Family Bus,” St. Regis is described as “Amer¬
ica’s most expensive school” (The Price Was High,
p. 497).

Waterbury, Judge Virginian who tries to per¬
suade Henry Clay Marston to return to Richmond
from Paris and for whom Marston later works for
three years.

Wiese, Charles One of the richest men in the
South. He has an affair with Choupette Marston.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

Friedman, Melvin J. ‘“The Swimmers’: Paris and Vir¬
ginia Reconciled.” In The Short Stories of F. Scott
Fitzgerald: New Approaches in Criticism, edited by
Jackson R. Bryer (Madison: University of Wiscon¬
sin Press, 1982), 251-260.

Roulston, Robert. ‘“The Swimmers’: Strokes against
the Current.” In New Essays on F. Scott Fitzger¬
ald’s Neglected Stories, edited by Jackson R. Bryer
(Columbia: University of Missouri Press, 1996),
151-164.

Tales of the Jazz Age

Story collection. New York: Charles Scribner’s
Sons, 1922; Fondon: Collins, 1923. Dedica¬
tion: “QUITE INAPPROPRIATELY TO MY

ggSggS

F.'KSSS

TALES s»

JAZZ ACE

?*$ *

_ f.SXtff FITZGERALD

John Held, Jr., provided the dust jacket art for Fitzgerald's s

i 1922. (Bruccoli

MOTHER.” Contents: My Last Flappers—“The
Jelly-Bean,” “The Camel’s Back,” “May Day,” “Pot'
celain and Pink”; Fantasies—“The Diamond as Big
as the Ritz,” “The Curious Case of Benjamin But-
e,” ‘“O Russet Witch!’”;

Unclassified Masterpieces—“The Lees of Happiness,”
“Mr. Icky,” “Jemina.”

Published on September 22, 1922, in a first
printing of 8,000 copies at $1.75, with a dust jacket
illustrated by JOHN Held, Jr., and an annotated
table of contents with Fitzgerald’s mostly tongue-
in-cheek comments about each piece.

The volume sold well and was widely reviewed
but was regarded as merely popular entertain¬
ment. Fitzgerald considered various titles for the
collection before settling on Tales of the Jazz Age.
When Maxwell Perkins told him that the Scrib¬
ners book salesmen had criticized the title because
of the current reaction against all jazz, Fitzgerald
responded on May 11, 1922, that he favored the
“Jazz Age” title because “It will be bought by my
own personal public, that is by the countless flap¬
pers and college kids who think I am a sort of
oracle. ... It is better to have a title + a title-
connection that is a has-been than one that is a
never-will-be. The splash of the flapper movement

was too big to have quite died down—the outer
rings are still moving. ... I hate titles like Sideshow
and In One Reel + Happy End They have begun to
sound like viels and apologies for bringing out col¬
lections at all” (Scott/Max, p. 59).

Taps at Reveille

Story collection. New York: Charles SCRIBNER’S
Sons, 1935. Dedication: “TO HAROLD OBER.”
Contents: Basil —“The Scandal Detectives,” “The
Freshest Boy,” “He Thinks He’s Wonderful,” “The
Captured Shadow,” “The Perfect Life”; Josephine —
“First Blood,” “A Nice Quiet Place,” “A Woman
with a Past,” “Crazy Sunday,” “Two Wrongs,”
“The Night of Chancellorsville,” “The Last of the
Belles,” “Majesty,” “Family in the Wind,” “A Short
Trip Home,” “One Interne,” “The Fiend,” “Baby¬
lon Revisited.” Published on March 20, 1935, in a
single printing of 5,100 copies at $2.50, with a dust
jacket illustrated by DORIS SPIEGEL.

Fitzgerald’s last and largest collection, TAR was
a Literary Guild alternate in June 1935 and received
mostly favorable reviews. John Chamberlain of the

206 "Tarkington's 'Gentle Julia'"

New York Times defended Fitzgerald against the
common charge that his material was futile, arguing
that Fitzgerald’s characters were no more futile than
those of William Faulkner (1897-1962), Marcel
Proust (1871-1922), Gustave Flaubert (1821-80),
or Sinclair Lewis and asserting: “Mr. Fitzgerald
knows the generation that grew up during the war
as no one else does” (“Books of the Times,” March
27, 1935, p. 19; F. Scott Fitzgerald: The Critical
Reception, p. 341).

Fitzgerald considered many possible titles for this
collection, including “More Tales of the Jazz Age,”
“Basil, Josephine and Others,” “When Grandma
Was a Boy,” “Last Year’s Steps,” “The Salad Days,”
“Many Blues,” “Just Play One More,” “A Dance
Card,” “Last Night’s Moon,” “In the Last Quarter
of the Moon,” “Golden Spoons,” and “Moonlight
in My Eyes.” When Fitzgerald expressed concern
that “Reveille” would be a difficult word for read¬
ers to pronounce, Maxwell Perkins assured him it
was not and urged him to keep what he considered
a good title.

Fitzgerald wrote a short foreword for the vol¬
ume but decided to omit it: “Before the last of
these stories were written the world that they
represented passed. In consequence the reviewer
may be tempted to apply the title harshly to the
fate of the collection. Yet almost all these stories,
the winnowing of fifty odd, meant a great deal to
the author at the time of the writing: all of them
tried for an arduous precision in trying to catch
one character or one emotion or one adventure—
which is all that one can do in the length of a short
story” (Matthew J. Bruccoli, Some Sort of Epic
Grandeur, p. 390).

“Tarkington , s ‘Gentle Julia’ ”

Review of Gentle Julia by BOOTH Tarkington. St.
Paul Daily News, May 7, 1922, feature section, p. 6;
In His Own Time.

Fitzgerald complains about the “lack of any
unity of design” in this narrative composed of sto¬
ries written over a period of 10 years but admits

that “parts of the book ... are as funny as anything
[Tarkington] has ever done” (In His Own Time, pp.
130 & 131).

“Tarquin of Cheepside”

Fiction. The Nassau Literary Magazine 73 (April
1917), 13-18; Apprentice Fiction. Revised and
expanded as “Tarquin of Cheapside,” The Smart
Set 64 (February 1921), 43-46; TJA.

Soft Shoes, who is being pursued by two men,
seeks refuge in the home of Wessel Caxter. The
pursuers tell Caxter that the man they seek has
done violence to a woman—one man’s sister and
the other’s wife. When they leave, Caxter con¬
fronts Soft Shoes, who spends the night writing
the story of his escapade. Its identification as “The
Rape of Lucrece” indicates that Soft Shoes is Wil¬
liam Shakespeare (1564-1616).

CHARACTERS

Caxter, Wessel An avid reader who offers Soft
Shoes refuge from his pursuers.

Flowing Boots Two men who are pursuing Soft
Shoes.

Soft Shoes Man who writes the story of his eve¬
ning’s escapade. Its identification as “The Rape of
Lucrece” indicates that he is William Shakespeare.

“Teamed with Genius”

Fiction—Pat Hobby story. Submitted October 2,
1939. Esquire 13 (April 1940), 44, 195-197; After¬
noon of an Author; The Pat Hobby Stories.

Producer Jack Berners assigns Pat Hobby to col¬
laborate on a script with Rene Wilcox. When Pat
discovers that Wilcox has completed a shooting
script while working at night, he forges a note call¬
ing Wilcox back to England because of the death
of his two brothers and sends secretary Kather-

Tender Is the Night 207

ine Hodge to borrow Wilcox’s script secretly. Pat
lightly revises the script and adds his own name
to it. When he submits it to Berners, the producer
informs Pat that the script had been discarded a
year ago. Wilcox had been in his office when Kath¬
erine, who has a relationship with him, arrived, and
he had sent the old script to Pat.

CHARACTERS

Berners, Jack Hollywood producer who
occasionally hires Pat Hobby. This character also
appears in “A Man in the Way,” “Pat Hobby, Puta¬
tive Father,” “Pat Hobby Does His Bit,” “Pat Hob¬
by’s Preview,” “A Patriotic Short,” and “On the
Trail of Pat Hobby.”

Griebel, Louie The studio bookie. This char¬
acter also appears in “A Man in the Way,” “Pat
Hobby and Orson Welles,” “Pat Hobby’s Secret,”
“Pat Hobby Does His Bit,” “No Harm Trying,” “On
the Trail of Pat Hobby,” “Pat Hobby’s Preview,”
and “Pat Hobby’s College Days.”

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Hodge, Katherine Pat Hobby’s former secretary,
who is now assigned to Rene Wilcox.

Wilcox, Rene English playwright and inexperi¬
enced screenwriter who is assigned to collaborate
on a script with Pat Hobby.

“10 Best Books I Have Read”

Article. Jersey City Evening Journal, April 24, 1923,
p. 9; F. Scott Fitzgerald on Authorship.

Fitzgerald’s list includes The Notebooks of Sam¬
uel Butler (1912; see SAMUEL Butler); The Philoso -
phy of Friedrich Nietzsche (1908) by H. L. Mencken;
A Portrait of the Artist as a Young Man (1916) by
JAMES Joyce; Z uleika Dobson (1911) by Max Beer-
bohm (1872-1956); The Mysterious Stranger (1916)
by Mark Twain; Nostromo (1904) by Joseph Con¬

rad; Vanity Fair (1848) by William Makepeace
Thackeray (1811-63); The Oxford Book of English
Verse (1921); Thais (1890) by Anatole France;
and Seventeen (1916) by BOOTH Tarkington.

Tender Is the Night

Novel. New York: Charles Scribner’s Sons, 1934;
London: Chatto & Windus, 1934. Dedication:
“TO / GERALD AND SARA / MANY FETES.”
(See Gerald and Sara Murphy.) Serialized in
Scribner’s Magazine, 95 Qanuary 1934), 1-8,
60-80; (February 1934), 88-95, 139-160; (March
1934), 168-174, 207, 229; (April 1934), 252-258,
292-310.

COMPOSITION

Three weeks after the publication of The Great
Gatsby, Fitzgerald wrote to Scribners editor MAX¬
WELL Perkins, “The happiest thought I have is of
my new novel—it is something really NEW in form,
idea, structure—the model for the age that Joyce
and Stien are searching for, that Conrad didn’t
find” (May 1, 1925; Life in Letters, p. 108; Scott/
Max, p. 104). The novel, variously called “Our
Type,” “The Boy Who Killed His Mother,” “The
Melarky Case,” and “The World’s Fair,” was about
Francis Melarky, a young American movie techni¬
cian who murders his domineering mother while
traveling with her in EUROPE. Fitzgerald worked on
this version, with interruptions, from late 1925 to
1930, writing five drafts, none of which exceeded
four chapters. A section of this version was post¬
humously published as “The World’s Fair” in The
Kenyon Review (Autumn 1948).

The novel opens with the arrival of Francis and
his mother on the Riviera, where he is taken up
by Americans Seth and Dinah Piper (also called
Roreback) and their friend, alcoholic composer
Abe Grant (Herkimer). Francis visits a movie stu¬
dio and acts as a second in a duel between Gabriel
Brugerol and writer Albert McKisco. He then trav¬
els to Paris with the Pipers to see Grant off to

208 Tender Is the Night

America, and he falls in love with Dinah, who does
not reciprocate. In a flashback opening chapter,
Francis is beaten by the police in Rome. Many of
these events adumbrate episodes in TITN, and the
characters are connected: The Pipers become Dick
and Nicole Diver; Abe Grant becomes Abe North;
Gabriel Brugerol becomes Tommy Barban; and
part of Francis becomes Rosemary Hoyt. Sources
for the Melarky/matricide version include the Leo-
pold-Loeb case; Dorothy Ellingson, a San Francisco
girl who murdered her mother in 1925; THEODORE
Dreiser’s An American Tragedy (1925); WALKER
Ellis; and Theodore Chanler.

During the years he was working on the novel,
Fitzgerald’s short stories dealt with transadantic
travel and Europe’s effects on EXPATRIATE Ameri¬
cans, and he transferred themes, descriptions, and
phrases from stories to drafts of his novel and from
the novel drafts to stories. Stories from which he bor¬
rowed passages for TITN include “The Popular Girl”
(February 1922), “The Third Casket” (May 1924),
“Love in the Night” (March 1925), “A Penny Spent”
(October 1925), “Not in the Guidebook” (November
1925), “The Adolescent Marriage” (March 1926),
“Jacob’s Ladder” (August 1927), “The Love Boat”
(October 1927), “A Short Trip Home” (December

1927) , “The Bowl” (January 1928), “Magnetism”
(March 1928), “The Scandal Detectives” (April

1928) , “A Night at the Fair” (July 1928), “Basil and
Cleopatra” (April 1929), “The Rough Crossing”
Qune 1929), “At Your Age” (August 1929), “The
Swimmers” (October 1929), “Two Wrongs” (Janu¬
ary' 1930), “First Blood” (April 1930), “ANice Quiet
Place” (May 1930), “A Woman with a Past” (Sep¬
tember 1930), “One Trip Abroad” (October 1930),
“A Snobbish Story” (November 1930), “The Hotel
Child” Qanuary 1931), “Babylon Revisited” (Feb¬
ruary 1931), “Indecision” (May 1931), “Emotional
Bankruptcy” (August 1931), “Diagnosis” (Febru¬
ary 1932), “Flight and Pursuit” (May 1932), “The
Rubber Check” (August 1932), “What a Hand¬
some Pair!” (August 1932), “Crazy Sunday” (Octo¬
ber 1932), “One Interne” (November 1932), “On
Schedule” (March 1933), “More Than Just a House”
Qune 1933), “I Got Shoes” (September 1933), and
“On Your Own” (unpublished until 1979). The most
important borrowings were from “Jacob’s Ladder,”
“Magnetism,” “Indecision,” and “One Trip Abroad.”
(See George Anderson, “F. Scott Fitzgerald’s Use of
Story Strippings in Tender Is the Night,” Appendix D
in Matthew J. BruccoLI’s Reader’s Companion to F.
Scott Fitzgerald’s Tender Is the Night.)

Dust jacket for Fitzgerald's fourth novel. (Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina)

Tender Is the Night 209

In June 1929 Fitzgerald told Perkins: “I am
working night + day on novel from new angle that
I think will solve previous difficulties” (Scott/Max,
p. 156). Fitzgerald wrote two chapters, set on ship¬
board, about movie director Lew Kelly and his wife,
Nicole, who are traveling to Europe. Also on the
ship is a young actress named Rosemary who hopes
that Kelly will help her start her movie career. In
1930 Fitzgerald returned to the Melarky material,
salvaging material from previous drafts.

In April 1930 Zelda Fitzgerald’s collapse
and hospitalization in SWITZERLAND interrupted
Fitzgerald’s work on the novel and provided him
with new material about which he had intense feel¬
ings. His new concerns are reflected in “One Trip
Abroad” (1930), which depicts the gradual dete¬
rioration of Americans Nicole and Nelson Kelly as
they travel in Europe and end up as patients in a
Swiss clinic.

Zelda was released from PRANGINS CLINIC in
September 1931, and the Fitzgeralds returned to
America. In January 1932 Fitzgerald reported to
Perkins that he was planning to spend five consec¬
utive months on his novel and was replanning it.
His work was again interrupted by Zelda’s second
breakdown in February and her hospitalization at
the Phipps Clinic of Johns Hopkins University
Hospital in Baltimore.

While in MONTGOMERY early in 1932 or at “La
Paix,” the house he rented near Baltimore in May,
Fitzgerald prepared plot outlines, chronologies,
and character sketches for the novel. (See F. Scott
Fitzgerald Manuscripts TVb, Part 1, pp. 3-23.) In
August 1932 he noted in his Ledger: “The Novel
now plotted + planned, never more to be per¬
manently interrupted” (p. 186). His notes show
that Zelda’s illness, which supplied many of the
details for Nicole Diver’s illness, was the determin¬
ing factor in his final approach to the novel, as
well as providing the emotional focus for the work.
The preliminary material also demonstrates that
the published novel did not begin with Fitzgerald’s
1932 work but rather developed through the long
process of composition, salvaging portions of the
early Melarky drafts.

Fitzgerald considered the titles “The Drunkard’s
Holiday,” “Doctor Diver’s Holiday,” and “Rich¬

ard Diver” before settling on Tender Is the Night,
a phrase from JOHN Keats’s ode “To a Nightin¬
gale,” a poem which he told his daughter he could
never read “without tears in my eyes” (to SCOTTIE
Fitzgerald, August 3,1940; Life in Letters, p. 460).
The poem shares the novel’s pervasive mood of
disenchantment.

SERIALIZATION

As early as 1925 McCall’s expressed interest in
serializing Fitzgerald’s fourth novel; in 1926 agent
HAROLD Ober negotiated a first-refusal agreement
with Liberty; and in 1933 Cosmopolitan expressed
interest in the serial. However, Fitzgerald decided he
preferred to have his most ambitious novel appear in
Scribner’s Magazine, which carried four monthly
installments (January-April 1934). Fitzgerald worked
on the text for magazine and book publication at the
same time, revising proof for the magazine and then
revising the serial again for book publication. From
the first Melarky draft through the book page proofs
that Fitzgerald revised and rewrote, the novel went
through 17 stages of composition.

PUBLICATION AND RECEPTION

Tender Is the Night was published on April 12,1934,
nine years after GG, in a first printing of 7,600 cop¬
ies at $2.50, with decorations by Edward Shen-
TON. The first printing sold out quickly, and there
were two more printings of 5,075 and 2,520 cop¬
ies that spring. TITN was 10th on the best-seller
lists in Publishers Weekly for April and May, but
the sales, though respectable for a novel published
during the Depression, did not meet Fitzgerald’s
expectations.

TITN received mixed reviews, and Fitzgerald was
disappointed by its reception, although there were
twice as many favorable as unfavorable reviews. It
is commonly thought that the novel failed because,
due to the Depression, it was considered politically
irrelevant; yet a list of the best-selling novels for 1934
demonstrates no reader preference for proletarian
fiction. Some reviewers found Dick Diver’s decline
unconvincing, and others criticized the flashback
structure and the disappearance of Rosemary Hoyt
at the end of Book I. John Chamberlain defended
the documentation of Diver’s collapse in a New York

210 Tender Is the Night

Times review: “It seemed to us that Mr. Fitzgerald
proceeded accurately, step by step, with just enough
documentation to keep the drama from being misty,
but without destroying the suggestiveness that added
to the horror lurking behind the surface” (“Books
of the Times,” April 16, 1934, p. 15; FSF: The
Critical Reception, pp. 311-312). (See also CRITICAL
REPUTATION AND RECEPTION OF NOVELS.) The likeli¬
hood that some reviewers read the fragmented (and
incompletely revised) serial version may account for
some of the criticisms. Another reason may be that
reviewers were looking for a straightforward, simple,
single cause and effect, while Fitzgerald’s character¬
ization of Dick and his fall was complex.

"AUTHOR'S FINAL VERSION"

Fitzgerald came to believe that the structure was
responsible for complaints that Diver was uncon¬
vincing. In 1936 he proposed a new edition for
the Modern Library that would include headings
to clarify the time scheme, but his proposed alter¬
ations made the project too expensive. (See his
letter to Bennett Cerf, August 13, 1936; Life in
Letters, pp. 306-307.) On December 24, 1938, he
wrote to Perkins that the novel’s “great fault is
that the true beginning—the young psychiatrist in
Switzerland—is tucked away in the middle of the
book. If pages 151-212 were taken from their pres¬
ent place and put at the start the improvement in
appeal would be enormous” ( Life in Letters, p. 374;
Scott/Max, p. 251; see also Notebooks #1075 for
Fitzgerald’s “Analysis of Tender”). Perkins did not
pursue the project, and there is no record of further
discussion of the revision.

When Fitzgerald died, his books included a
copy of TITN with his note on the front endpaper:
“This is the final version of the book as I would
like it.” The volume was disbound and reassembled
with the chapters in chronological order, begin¬
ning with Dick Diver’s arrival in Switzerland in
1917; Fitzgerald had made some 40 corrections or
revisions, ending about halfway through the book.
Malcolm Cowley used this volume as the basis
for his 1951 edition of TITN “With the Author’s
Final Revisions,” claiming that the chronological
rearrangement improved the novel. Reviews of the
revised edition were unenthusiastic. Charles Poore

SCRIBNER’S

Cover for the first serial installment of Fitzgerald's
1934 novel. (Bruccoli Collection of F. Scott Fitzgerald,
University of South Carolina)

complained in the New York Times, “It takes a
case history that he had transmuted into art and
prosaically tries to bring it back closer to what
might be a case historian’s heart’s desire” (“Books
of the Times,” November 15, 1951, p. 26). Reader
preference was clearly for the 1934 edition, and
Scribners let the revised version go out of print
after 1959.

SYNOPSIS

Book I

Chapter 1

Eighteen-year-old American actress Rosemary Hoyt
and her mother, Mrs. Elsie Speers, arrive at Gausse’s
Hotel des Etrangers on the Riviera, five miles from
CANNES. On the beach Rosemary meets Luis Cam¬
pion, Mrs. Abrams, Albert and Violet McKisco, and

Tender Is the Night 211

Royal Dumphry, but she is more interested in a
group of tanned people farther down the beach.

Chapter 2

Dick Diver, the leader of the tanned group, wakes
Rosemary on the beach to keep her from getting
more sunburned.

Chapter 3

Rosemary tells her mother that she fell in love on
the beach and that wherever they go, everyone has
seen her movie, Daddy’s Girl.

Chapter 4

On the beach two days later, Dick invites Rose¬
mary to join his group, which includes his wife,
Nicole; composer Abe North and his wife, Mary
North; and soldier-of-fortune Tommy Barban.
Dick’s voice seems to promise “an endless suc¬
cession of magnificent possibilities” (p. 20). Rose¬
mary tells her mother that she is desperately in
love with Dick.

Chapter 5

Rosemary goes to Monte Carlo to see director Earl
Brady, who wants to work with her.

Chapter 6

The Divers host a party at their house, the Villa
Diana, at Tarmes. The guests include Rosemary,
Mrs. Speers, Brady, Campion, Dumphry, Mrs.
Abrams, the McKiscos, the Norths, and Barban.
Rosemary tells Dick that she fell in love with him
the first time she saw him.

Chapter 7

At the Divers’ party, Mrs. McKisco comes upon “a
scene” when she goes upstairs to the bathroom.

Chapter 8

Dick invites Rosemary to go to Paris with him and
Nicole to see Abe North off for America. The Div¬
ers’ party ends.

Chapter 9

Mrs. Speers tells Rosemary to go ahead and pur¬
sue a relationship with Dick. Luis Campion tells
Rosemary that there is going to be a duel between
Tommy Barban and Albert McKisco.

Chapter 10

Abe North tells Rosemary that the cause of the
duel is Tommy Barban’s trying to make Violet
McKisco shut up about the Divers and what she
saw at the party.

Chapter 11

Rosemary goes with Campion to the duel on a golf
course; both shots miss.

Chapter 12

The Divers, the Norths, and Rosemary are in Paris.
Rosemary goes shopping with Nicole.

Chapter 13

The Divers, the Norths, and Rosemary visit the
World War I battlefield of Beaumont Hamel. Dick
says it was “the last love battle” (p. 62) and that
it took “religion and years of plenty and tremen¬
dous sureties and the exact relations that existed
between the classes” (p. 61). He mourns, “All my
beautiful lovely safe world blew itself up here with
a great gust of high explosive love” (p. 62). This
chapter emphasizes that the war has irrevocably
damaged the world of the novel.

Chapter 14

Back in Paris, Rosemary realizes that Abe North is
always drinking. Dick says that he may abandon his
scientific treatise.

Chapter 15

In the taxi on the way back to the hotel where
Nicole had returned earlier, Dick and Rosemary
kiss. She asks him to come to her room, where she
says “Take me.” He is astonished and recites for her
all the reasons why they should not have an affair.

Chapter 16

The next day Rosemary sees that Dick is beginning
to fall in love with her. The Divers and Norths
attend a screening of Daddy’s Girl, and Rosemary
announces that she has arranged for Dick to have a
screen test, which he refuses.

Chapter 17

Dick tells Rosemary, “I’m afraid I’m in love with
you .. . and that’s not the best thing that could
happen” (p. 79). He explains that he and Nicole

212 Tender Is the Night

have to go on together and that their relationship is
complicated. Nevertheless, he kisses her as they go
up the hotel stairs.

Chapter 18

The Divers host a party in Paris.

Chapter 19

At the train station Nicole rebukes Abe for giving
up on everything and for his dissipation. Rosemary,
Dick, and Mary North join them to see Abe off on his
train. Maria Wallis, whom the Divers know, shoots a
man in the train station. Dick feels panic over his loss
of control over his relationship with Rosemary.

Chapter 20

Collis Clay, a Yale student with whom Rosemary
attended the prom the preceding fall, tells Dick about

Rosemary getting in trouble in a locked train com¬
partment with a boy named Bill Hillis. The thought
of someone else with Rosemary makes Dick desire
her more; he goes to the film studio to find her, real¬
izing that this marks a turning point for him.

Chapter 21

Rosemary has already left the studio; Dick calls her
at the hotel, telling her he would like to be with

Chapter 22

The Divers learn that Abe North is still in Paris,
and Nicole reflects that “so many smart men go to
pieces nowadays” (p. 104).

Chapter 23

Abe spends the day in the Ritz Bar.

Still from the 1962 movie version of Tender Is the Night, starring Jason Robards, Jr., and Jennifer Jones as Dick and
Nicole Diver, with Jill St. John as Rosemary. (Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina)

Tender Is the Night 213

Chapter 24

Dick goes to Rosemary’s hotel room, where they
kiss. Abe comes to the door with Jules Peterson, a
black man who helped Abe identify another black
man who reportedly stole some money from Abe.
The police arrested the wrong man, and now sev¬
eral people are after Peterson for his betrayal. Dick,
Rosemary, and Abe discuss the situation in Dick’s
room while Peterson waits in the corridor.

Chapter 25

When Abe leaves, Rosemary returns to her room,
where she discovers Peterson’s murdered body
on her bed. To protect Rosemary from scandal,
Dick moves the body to the hall, where he tells the
hotel manager it was found. Dick takes Rosemary’s
bloody bedclothes for Nicole to wash, and Rose¬
mary sees Nicole’s hysteria in the bathroom.

Book II

Chapter 1

This chapter begins a flashback to spring 1917
when Dick Diver arrives in Zurich to study at the
university after attending Yale, being a Rhodes
Scholar, completing medical school at Johns Hop¬
kins, and studying and writing medical articles in
Vienna. After completing his degree in Zurich, he
is commissioned in the U.S. Army and returns to
Zurich in spring 1919 after his discharge.

Chapter 2

In April, Dick visits Franz Gregorovious at Dohm-
ler’s clinic on the Ziirichsee, where they discuss
the letters Dick has received from wealthy mental
patient Nicole Warren, whom he had met just after
joining the army.

Chapter 3

Franz relates Nicole’s history to Dick. About a year
and a half before, her father, Devereux Warren of
Chicago, had brought her to the clinic because
she was showing signs of mental illness. When
Warren had failed to return for his promised visit,
Doctor Dohmler had issued an ultimatum that he
must come before he returned to America, and
Warren had revealed an incestuous episode with
Nicole.

Chapter 4

Dick tells Franz that he plans “to be a good psy¬
chologist—maybe to be the greatest one that ever
lived” (p. 138). He reflects that “he wanted to be
good, he wanted to be kind, he wanted to be brave
and wise, but it was all pretty difficult. He wanted
to be loved, too, if he could fit it in” (p. 140).

Chapter 5

Dick visits Nicole at the clinic, and she plays Amer¬
ican records for him.

Chapter 6

Franz tells Dick that Nicole is apparently in love
with him, and Doctor Dohmler expresses his con¬
cern over their relationship. Dick says that he has
considered marrying her.

Chapter 7

Dick, Franz, and Dohmler decide that Dick should
go away, and when he sees Nicole next, he is cold
and distant.

Chapter 8

Dick is dissatisfied with the end of the affair. He
works on his forthcoming book and plans another.
He encounters Nicole and her sister, Baby Warren,
on the Glion funicular.

Chapter 9

Dick joins Nicole and Baby after dinner. Baby dis¬
cusses Nicole’s situation with Dick and reveals her
hope that Nicole will fall in love with a doctor back
in Chicago. Dick and Nicole kiss. Baby asks Dick
to escort Nicole back to the clinic, and he realizes
that “her problem was one they had together for
good now” (p. 165).

Chapter 10

In September Dick has tea with Baby, who is dis¬
pleased with his desire to marry Nicole. Nicole’s
ffee-association reverie recounts their marriage,
honeymoon, the births of their two children, her
relapses, their travels, and Dick’s growing depen¬
dence on the Warren money and ends with meet¬
ing Rosemary on the beach, bringing the time back
to the beginning of the novel.

Chapter 11

After Peterson’s murder, Rosemary moves to another
hotel, and the Divers return to the Villa Diana,

214 Tender Is the Night

where Dick considers a new plan for the book he is
writing. Dick tells Mrs. Speers that he is in love with
Rosemary. He reflects on Nicole’s two recent col¬
lapses: in the Paris hotel and earlier at their party.

Chapter 12

Dick reflects on Nicole’s money and its rapid increase
in recent years; nevertheless, he has maintained “a
qualified financial independence” (p. 178).

Chapter 13

While the Divers are in GSTAAD to ski, Franz
Gregorovious proposes that he and Dick buy a
clinic together, a plan that Baby Warren encour¬
ages. Dick senses that Baby’s message is “We own
you” (p. 185).

Chapter 14

Dick and Franz have had their clinic for 18 months.
Dick becomes emotionally attached to a female
patient with severe eczema.

Chapter 15

Nicole receives a letter from a former patient at
the clinic who falsely claims that Dick seduced
her daughter. At the Ageri Fair, Nicole runs away
because she sees a young girl looking at Dick. On
the way home, she grabs the steering wheel from
Dick and runs their car off the road.

Chapter 16

After Nicole’s recovery from her breakdown, Dick
takes a leave of absence from the clinic, ostensibly
to attend a psychiatric conference but really just to
get away.

Chapter 1 7

In Munich Dick encounters Tommy Barban and
learns that Abe North was beaten to death in a
New York speakeasy.

Chapter 18

In Innsbruck Dick reflects that he has “lost him¬
self’ (p. 209) between the time he met Nicole
and the time he met Rosemary. He feels that the
Warrens own him, and he is attracted to every
pretty woman he sees. He receives a telegram that
his father has died, and the news reinforces his
growing awareness of his own lack of dedication
to duty.

Chapter 19

Dick sails to America for his father’s funeral; on
his return voyage to Europe, he encounters Albert
McKisco, now a successful novelist. In Rome he
encounters Rosemary, “the person he had come to
see” (p. 215).

Chapter 20

The year is specified as 1928. Dick goes to Rose¬
mary’s hotel room where they kiss, but she stops
his further advances. The next day he accompanies
her to the movie set, and when they return to the
hotel, they consummate their relationship.

Chapter 21

Dick encounters Baby Warren, who suggests that he
and Nicole move to LONDON, an idea he rejects.
Dick realizes that he is not in love with Rosemary, a
discovery that increases his passion for her. He asks
about her sex life, and she tells him that Nicotera, an
Italian actor, wants to marry her. Dick reflects that
he does not seem to bring people happiness anymore.

Chapter 22

Dick goes out drinking with Collis Clay. After an
altercation with a taxi driver, Dick is beaten by the
Rome police and put in jail.

Chapter 23

Dick summons Baby Warren to rescue him from
jail, and her persistence at the Consulate accom¬
plishes his release.

Book III

Chapter 1

Franz’s wife, Kaethe Gregorovious, complains to
her husband about Nicole and plants in his mind
the idea that “Dick is no longer a serious man”
(p. 249).

Chapter 2

When Dick returns to the clinic, Franz sends him
to LAUSANNE to interview a prospective patient,
an alcoholic homosexual, whose case Dick refuses
after the interview. While in Lausanne, he learns
that Nicole’s father is there being treated for alco¬
holism and is dying. Kaethe Gregorovious unwisely
tells Nicole of the situation; Nicole leaves for Lau-

Tender Is the Night 215

sanne, but by the time she arrives her father has
departed.

Chapter 3

Back at the clinic a week later, patient Von Cohn
Morris is being taken away by his parents, who
claim that he has twice smelled liquor on Dick’s
breath. Franz and Dick agree to break up their
partnership.

Chapter 4

The Divers are back on the Riviera, where Dick
writes a little, and they have more money than
ever. They visit Mary North, who is now the Con-
tessa di Minghetti. Dick mistakes the count’s sister
for a maid, insulting the family’s honor, and the
Divers and Mary part on bad terms.

Chapter 5

Back at the Villa Diana, the Divers’s relationship
grows more strained, and Nicole tells Dick, “I’ve
ruined you” (p. 274). At a party on a yacht they
encounter Tommy Barban, and Dick, who has
been drinking too much, quarrels with Lady Caro¬
line Sibly-Biers.

Chapter 6

The next morning Tommy, who drove the Divers
home from the party, has a sore throat. Against
Dick’s wishes, Nicole gives Tommy a jar of cam¬
phor rub that has to be ordered from Paris.

Chapter 7

The Divers’s relationship has been deteriorating for
months, and Nicole fears that Dick is planning a
“desperate solution” (p. 286). On the beach they
encounter Rosemary, who had telegraphed them
of her arrival; Nicole is irritated by Dick’s attempts
to show off for Rosemary in an aquaplane stunt.
Rosemary tells Dick she had heard that he had
changed, and he replies: “The change came a long
way back—but at first it didn’t show. The man¬
ner remains intact for some time after the morale
cracks” (p. 291). Nicole reflects that she is nearly
complete without Dick, and she writes a provoca¬
tive letter to Tommy.

Chapter 8

While Dick is out of town, Tommy comes to see
Nicole, and they go to a shore hotel where they

sleep together. Tommy brings Nicole home before
daylight.

Chapter 9

The next afternoon Dick comes home, and he and
Nicole quarrel. He tells her, “I can’t do anything for
you any more. I’m trying to save myself’ (p. 306).
She calls him a coward and a failure and completes
her psychological break from him: “The case was
finished. Doctor Diver was at liberty” (p. 307).

Chapter 10

In response to a phone call in the middle of the
night, Dick goes to the police station to bail out
Mary Minghetti and Caroline Sibly-Biers, who had
dressed as French sailors and picked up two girls.

Chapter 11

Tommy confronts Dick and tells him that Nicole
wants a divorce, and Dick concedes.

Chapter 12

Mary Minghetti asks Dick why he is not always
nice anymore and tells him she has spent her sum¬
mer defending him. Dick blesses the beach as he
leaves the Riviera.

Chapter 13

Nicole and Tommy are married. Dick is in Amer¬
ica working on his uncompleted book and mov¬
ing from one small town to another, practicing
general medicine with diminishing success. He
writes to Nicole that he is in Geneva, New York:
“Perhaps, so she liked to think, his career was
biding its time, again like Grant’s in Galena; his
latest note was postmarked from Hornell, New
York, which is some distance from Geneva and a
very small town; in any case he is almost certainly
in that section of the country, in one town or
another” (p. 321).

CRITICAL COMMENTARY

TITN was Fitzgerald’s most ambitious, complex,
and profound novel, but the initial reviews were
disappointing, and even today it is not taught or
read nearly as widely as GG. The nine-year gap
between the publication of GG and TITN created
tremendous anticipation, as reviewers and readers
were eager to see what Fitzgerald could do after the

216 Tender Is the Night

masterpiece of GG. Perhaps nothing could live up
to such expectations.

This time of drinking, dealing with Zelda’s ill¬
ness, writing short stories, and making slow prog¬
ress on his novel is generally regarded as a wasted
portion of Fitzgerald’s career. Fitzgerald’s depiction
of the decline of Dick Diver illuminates his own
sense of a loss of purpose after the success of GG, as
later chronicled in his 1936 “Crack-Up” essay. The
two men share an emotional bankruptcy marked by
drinking, a dislike of people, an increasing bigotry,
and difficulty in completing the books they are
writing. Although Zelda’s mental illness supplied
the catalyst for the Diver version of TITN, the
novel explores Fitzgerald’s wasted genius through
its treatment of Dick Diver. Fitzgerald’s mixture of
pity and contempt as he judges himself and Dick
makes the characterization complex.

Although Fitzgerald later reconsidered the flash¬
back structure after disappointing reviews, he did
not alter his structural plan during the composition
of the novel, and the poor reception of Cowley’s
chronological “Author’s Final Version” vindicates
the original plan. Fitzgerald’s 1932 notes for the
novel include a memo on the three-part structure
which indicates that the shifts in point of view were
planned from the beginning of the Diver version.
Book I, “From outside mostly,” opens on the Riviera
in June 1925 and depicts an idealized view of the
Divers through the eyes of young actress Rosemary
Hoyt, covering about two weeks on the Riviera and
in Paris. Book II, “Nicole from Dick,” goes back to
1917 when Dick met Nicole at a Swiss psychiatric
clinic during World War I. Nicole’s stream-of-con-
sciousness reverie in Chapter 10 of Book II is one of
Fitzgerald’s most brilliant structural devices. It not
only serves as a time bridge, returning the action
to the beginning of the novel in 1925, but also
provides details about the Divers’s background and
explores the pressures and weaknesses that contrib¬
ute to Dick’s deterioration. The rest of the novel
is presented in chronological order, and Book III
focuses on Dick and his decline.

Difficulties with the Novel

Although chronological rearrangement of the
entire novel was unnecessary and unsatisfactory,

the time scheme of the novel is blurred and requires
clarification. The real problem is not the flashback
structure but the vague and sometimes conflicting
time signals, which make it difficult to gauge the
speed of Dick’s decline.

The novel opens “one June morning in 1925” (p.
7). Other major time signals specified in the novel
are “this past year and a half on the Zugersee”
(p. 188) and “For eighteen months now he had
lived at the clinic” (p. 189). The 18-month interval
following Christmas 1925 in the previous chapter
indicates that Book II, Chapter 14 occurs during
summer 1927, which fits the 1928 date specified in
the Rome chapters (p. 219).

The confusion arises in trying to determine the
date at which the novel ends: Is it 1929 or 1930?
Fitzgerald’s statement that Dick’s final departure
from the Riviera occurs five years after Rosemary’s
first visit to the Riviera (first edition, p. 364) places
the end of the novel in summer 1930 (five years
after the June 1925 opening), after the October
1929 stock-market crash, but a postcrash ending
is implausible. Tommy Barban specifies that he has
“good stocks,” and Nicole responds that “Dick’s
getting rich” (p. 280). More significant, the historic
crash is not mentioned in the novel. Fitzgerald had
written brilliantly about the crash in his 1931 story
“Babylon Revisited,” and with his careful attention
to the moods of time and place, it is unlikely that
he would have omitted all references to the crash if
TITN ended in 1930.

The only documentary evidence for a 1930
ending is an inscription Fitzgerald wrote in a copy
of the novel in 1936 or 1937: “F Scott Fitzgerald
requests the pleasure of Laura Guthrie’s Company
in Europe 1917-1930” (Fitzgerald Newsletter, p.
202). Malcolm Cowley supported the 1930 end¬
ing, but this assumption creates a one-year hole in
the novel. The age tables that Fitzgerald created
in his notes for Dick and Nicole both specify that
the story ends in July 1929. A precrash ending adds
dramatic irony to this tale of the luxurious life of
the wealthy, for the financial world will explode
three months later.

The most likely explanation is that Fitzgerald’s
use of “five years” resulted from his counting 1925
as a full year; he frequently made chronological

Tender Is the Night 217

errors due to confusing seasons with years. His pre¬
liminary notes for the Diver version indicate that
the novel was to span June 1925 to July 1929—
five summers, but only four years. (See Matthew J.
Bruccoli’s discussion of the time scheme and chro¬
nology in Reader’s Companion to F. Scott Fitzgerald’s
Tender Is the Night, pp. 186-195.)

In addition to the chronological inconsistencies
and contradictions, there are some 50 errors—par¬
ticularly in geography and foreign languages—that
have the cumulative effect of distracting readers
and undermining their confidence in the author.
(See Bruccoli’s Reader’s Companion and his edition
ofTITN [London: Everyman, 1996].)

Rosemary and Point of View
After mastering structure and narrative technique
with GG, Fitzgerald planned once again to involve
his readers in reordering the story. He began to
write the Melarky version with a partially involved
narrator like Nick Carraway, but the scope of action
in the novel that became TITN became too large
to be observed by a single character. Instead, TITN
is told by a third-person omniscient authorial voice
that, for Book I, filters most events through Rose¬
mary’s perspective. Fitzgerald so strongly wanted to
ensure that his readers realized this that he inserted
a rather clumsy reminder at one point: “To resume
Rosemary’s point of view” (p. 31).

Rosemary is ideal as a point-of-view character
because of the double perspective provided by her
combination of experience and innocence. At age
18, she is already a celebrity herself, and she is
familiar with the glamour and luxury of HOLLY¬
WOOD. Even so, she is impressed and dazzled by the
Divers. She is also an outsider—a tourist, not an
expatriate—who does not know much about the
world despite her success in the movie industry.
“Rosemary was a romantic and her career had not
provided many satisfactory opportunities on that
score.. . . She was In the movies but not at all At
them” (p. 34). In Chapter 4, after Rosemary spends
the day on the beach with the Divers, Fitzgerald
explores her perspective, alerting readers that there
are things she is missing and that the Divers are
more complex than she realizes:

Her naivete responded whole-heartedly to the
expensive simplicity of the Divers, unaware
of its complexity and its lack of innocence,
unaware that it was all a selection of quality
rather than quantity from the run of the world’s
bazaar; and that the simplicity of behavior
also, the nursery-like peace and good will, the
emphasis on the simpler virtues, was part of a
desperate bargain with the gods and had been
attained through struggles she could not have
guessed at. At that moment the Divers repre¬
sented externally the exact furthermost evo¬
lution of a class, so that most people seemed
awkward beside them—in reality a qualitative
change had already set in that was not at all
apparent to Rosemary, (p. 25)

This passage indicates not only the limitations
of Rosemary’s awareness but also suggests that
Dick’s decline has already begun before he meets
her. Even with this hint, Rosemary’s adoring reac¬
tion to the Divers in Book I creates the impres¬
sion of Dick’s perfection, and his introduction as
a remarkably intelligent man and professional of
great promise emphasizes the height from which he
falls. Some reviewers and readers complained about
Rosemary’s disappearance for most of Book II, but
she has already accomplished Fitzgerald’s purpose
of establishing the surface charm, brilliance, and
attraction of the Divers, especially Dick. When she
reappears later in the book, each of her encoun¬
ters with Dick documents and contributes to his
decline. Because her initial reaction to Dick was
so strongly positive, her sense of his deterioration
emphasizes how much he has changed.

Dick Diver’s Fall

Fitzgerald’s notes for the novel that became TITN
describe it as “a novel of our time showing the
break up of a fine personality. Unlike The Beauti¬
ful and Damned the break-up will be caused not
by flabbiness but really tragic forces such as the
inner conflicts of the idealist and the compromises
forced upon him by circumstances.” (Reader’s Com¬
panion to F. Scott Fitzgerald’s Tender Is the Night, p.
10). Internal and external forces work together in
Dick’s deterioration.

218 Tender Is the Night

In keeping with a common Fitzgerald theme,
Dick Diver aspires to greatness. At age 30, he tells
Franz Gregorovious that he plans “to be a good psy¬
chologist—maybe to be the greatest one that ever
lived” (p. 138), yet in the middle of the night he
sometimes wonders, “God, am I like the rest after
all?” (p. 140). This sense of uniqueness and supe¬
riority, Fitzgerald notes, is “good material for those
who do much of the world’s rarest work” (p. 140).

Dick’s ambitions extend beyond psychology,
however: “Fie wanted to be good, he wanted to be
kind, he wanted to be brave and wise, but it was
all pretty difficult. He wanted to be loved, too, if
he could fit it in” (p. 140). Throughout the novel
his professional ambitions and his need to be loved
are in conflict. This admirable man—who seems so
intelligent, controlled, and intact—is in fact sus¬
ceptible to corruption. His egotism and his need
to be loved—or at least admired—are at the root
of his decline. He desires to be all things to all
people: psychiatrist to his patients, both husband
and doctor to Nicole, and leader of the Americans
on the Riviera. He marries Nicole more because
she loves him so much than because he loves her.
He is attracted to young women like Nicole and
Rosemary because they are inexperienced, uncriti¬
cal, admiring, and worshipful. Like Josephine Perry
in “Emotional Bankruptcy” and Charlie Wales in
“Babylon Revisited,” Dick squanders his emotional
capital and becomes unable to respond to the things
that are worthy of deep emotion.

Dick does not marry Nicole for her money, but
it does overwhelm him and undermine his com¬
mitment to his work. He does not sell out, but he
discovers that he has been bought out. After eight
or nine years of marriage and Nicole’s breakdown
at the fair, he takes a leave of absence “for his
soul’s sake.”

He had lost himself—he could not tell the hour
when, or the day or the week, the month or the
year. Once he had cut through things, solving
the most complicated equations as the simplest
problems of his simplest patients. Between the
time he found Nicole flowering under a stone
on the Ziirichsee and the moment of his meet¬
ing with Rosemary the spear had been blunted.

Watching his father’s struggles in poor
parishes had wedded a desire for money to an
essentially unacquisitive nature. It was not a
healthy necessity for security—he had never felt
more sure of himself, more thoroughly his own
man, than at the time of his marriage to Nicole.

Yet he had been swallowed up like a gigolo, and
somehow permitted his arsenal to be locked up
in the Warren safety-deposit vaults, (p. 209).

Nicole’s interior monologue in Chapter 10 dra¬
matically traces the effect of her family’s money
on her marriage and on Dick. In the beginning
Dick “refuses to have anything whatever to do
with it” (p. 167), but his resolution weakens before
Nicole’s demands. When she wants a bigger apart¬
ment after the birth of their first child, she argues,
“Why should we penalize ourselves just because
there’s more Warren money than Diver money?”
(p. 167). Dick neglects his work while they travel.
After the second baby’s birth, Nicole declares, “We
must spend my money and have a house—I’m tired
of apartments and waiting for you. You’re bored
with Zurich and can’t find time for writing here
and you say that it’s a confession of weakness for a
scientist not to write” (p. 169). They move to the
Riviera, allegedly to expedite his work, but he has
been deflected from his work to the extent that he
no longer even thinks of himself as a doctor. Nicole
asks, “Dick, why did you register Mr and Mrs Diver
instead of Doctor and Mrs Diver?. . . You’ve taught
me that work is everything” (p. 169).

In Chapter 12, when the action has returned to
the 1925 Riviera, Dick reflects that he has “main¬
tained a qualified financial independence” but
realizes that he succumbs more and more to the
Warren money: “Again and again it was neces¬
sary to decide together the uses to which Nicole’s
money should be put. Naturally, Nicole, wanting to
own him . . . encouraged any slackness on his part,
and in multiplying ways he was constantly inun¬
dated by a trickling of goods and money” (p. 178).
When Nicole’s sister Baby encourages his plan to
buy a clinic with Franz, he senses that her message
is “We own you” (p. 185).

That Dick had already begun to lose himself, that
his “spear had been blunted” between the time he

Tender Is the Night 219

met Nicole and the time he met Rosemary is appar¬
ent from his self-indulgent, infatuated response to
Rosemary’s youthful adoration. His father’s death
reinforces his growing awareness of his dissipation,
yet he consummates his affair with Rosemary when
he sees her in Rome after his return from his father’s
funeral in America. Realizing that he is not in love
with Rosemary only increases his passion for her, but
when they quarrel about her relationship with Nico-
tera, Dick reflects, “I guess I’m the Black Death....
I don’t seem to bring people happiness any more” (p.
227). The promising psychiatrist has deteriorated to
the point where he is often drunk, fights with a taxi
driver, is beaten by the Rome police, and is thrown in
jail. Kaethe Gregorovious is right on target when she
says that “Dick is no longer a serious man” (p. 249).

Nicole, who had once been dependent on Dick,
has an affair with Tommy Barban and completes her
psychological break from her husband and physi¬
cian: She “cut the cord forever” (p. 307). Although
“Doctor Diver was at liberty” (p. 307), Dick is still a
prisoner of his need for love and admiration. When
he receives a middle-of-the-night phone call, he
feels obligated to go to the police station to bail out
Mary Minghetti and Caroline Sibly-Biers. In this
passage just a few pages from the end of the novel,
Fitzgerald once again attributes Dick’s marriage to
Nicole to his need for love and shows how his
charm, power, and aspirations have deteriorated
into merely “a fatal pleasingness”:

His self-knowledge assured him that he would
undertake to deal with it—the old fatal pleas¬
ingness, the old forceful charm, swept back with
its cry of ‘Use me!’ He would have to go fix this
thing that he didn’t care a damn about, because
it had early become a habit to be loved, perhaps
from the moment when he had realized that
he was the last hope of a decaying clan. On
an almost parallel occasion, back in Dohmler’s
clinic on the Ziirichsee, realizing this power, he
had made his choice, chosen Ophelia, chosen
the sweet poison and drunk it. Wanting above
all to be brave and kind, he had wanted, even
more than that, to be loved. So it had been. So
it would ever be. (p. 308)

In a quiet, understated ending, this once bril¬
liant, great man fades into obscurity in America: “in
any case he is almost certainly in that section of the
country, in one town or another” (p. 321). Some
critics complained that the ending was anticlimac-
tic, but Fitzgerald explained to H. L. Mencken that
“the motif of the ‘dying fall’ was absolutely deliber¬
ate and did not come from any diminution of vital¬
ity, but from a definite plan,” noting that he and
Ernest Hemingway had worked out “that particu¬
lar trick” with the influence of JOSEPH Conrad’s
preface to The Nigger of the “Narcissus” (1897)
(April 23, 1934; Li/e in Letters, 256).

Fitzgerald’s assessment of his novel is evident
in his inscription in book reviewer Philip Lenhart’s
copy of GG: “This is an attempt at the ‘tour de
force.’. .. If you like my stuff I hope to God you’ll
read ‘Tender Is the Night’, which is a confession of
faith” (c. April 1934; Life in Letters, pp. 251-252).

ADAPTATIONS

In April and May 1934 Fitzgerald collaborated with
Charles Marquis Warren on a movie treatment
for TITN (published in Bruccoli, Some Sort of Epic
Grandeur, Appendix 1), but they were unable to sell
it. In 1962 TITN was made into a film by Twentieth
Century-Fox (screenplay by Ivan Moffat; directed
by Henry King). In 1985 TIT N was made into a
movie for television from a script by Dennis Potter
(Showtime, BBC; directed by Robert Knights).

CHARACTERS AND PLACES
Abrams, Mrs. Woman on the beach who rec¬
ognizes Rosemary Hoyt as an actress. She is later
part of Mary [North] Minghetti’s entourage on the
Riviera.

Augustine Drunken cook at the Villa Diana who
threatens Dick Diver with a butcher knife when he
fires her.

Barban, Tommy Half-French, half-American
soldier-of-fortune with whom Nicole Diver has an
affair and whom she marries after leaving her hus¬
band, Dick Diver. Fitzgerald’s notes for the novel
indicate that Barban was based on a combination

220 Tender Is the Night

Lobby card for the 1962 movie version. (Bruccoli
Collection of F. Scott Fitzgerald, University of South
Carolina)

of Edouard Jozan, Mario Braggiotti, Tommy
HITCHCOCK, and Princetonians Percy Pyne and
Denny Holden. Barban probably also has connec¬
tions with Ernest Hemingway, although he was
not listed.

Brady, Earl Director who wants to work with
Rosemary Hoyt and to whom she is physically
attracted, despite her preference for Dick Diver.
Based on Irish-American movie director Rex
Ingram (1893-1950), who had a studio on the Riv¬
iera in the 1920s. Ingram was also the model for
Lew Kelly, the protagonist of an early version of
TITN.

Campion, Luis Homosexual whom Rosemary
Hoyt meets on the Riviera and who takes her to
see the duel between Albert McKisco and Tommy
Barban.

Casasus Bank employee in Paris who authorizes
a check for Dick Diver.

Chillicheff, Prince Aristocrat whom Tommy
Barban has helped escape from Russia and to whom
he introduces Dick Diver in a Munich cafe.

Clay, Collis Yale student from Georgia with
whom Rosemary Hoyt attended the prom the pre¬

ceding fall and whom she sees in Paris. He and
Dick go out drinking in Rome, and when Dick is
jailed, Baby Warren summons Collis to stay with
him while she arranges his release.

Dangeu, Doctor Devereux Warren’s physician in
Lausanne.

Diver, Dick (Dr. Richard Diver) Fitzgerald’s
1932 sketch for TITN indicates his plan to “show
a man who is a natural idealist, a spoiled priest, giv¬
ing in for various causes to the ideas of the haute
Burgeoise, and in his rise to the top of the social
world losing his idealism, his talent and turning to
drink and dissipation” (F. Scott Fitzgerald Manu¬
scripts I Vb, Part 1, p. 5).

Dick Diver is educated at Yale, Johns Hopkins
School of Medicine, Oxford University, in Vienna,
and at the University of Zurich, after which he is
commissioned in the U.S. Army. After his discharge
from the army in spring 1919, he returns to Zurich,
where he tells his friend Franz Gregorovious that he
plans “to be a good psychologist—maybe to be the
greatest one that ever lived” (p. 138). He revises
some pamphlets he had written earlier into a book
and plans another ambitious volume.

As he considers his future, he reflects that “he
wanted to be good, he wanted to be kind, he
wanted to be brave and wise, but it was all pretty
difficult. He wanted to be loved, too, if he could
fit it in” (p. 140). His overwhelming desire to be
loved leads him to marry Nicole Warren [Diver],
a wealthy mental patient who has fallen in love
with him. They have two children and travel a
great deal before settling at the Villa Diana on the
Riviera.

Dick’s attractiveness is emphasized through the
idealized view of young actress Rosemary Hoyt, to
whom “he seemed kind and charming—his voice
promised that he would take care of her, and that
a little later he would open up whole new worlds
for her, unroll an endless succession of magnificent
possibilities” (p. 20). He falls in love with Rosemary
even though he protests that his complicated rela¬
tionship with Nicole prevents their having an affair.
He begins to drink too much, and he grows more
and more dependent on Nicole’s money, which he

Tender Is the Night 221

uses to finance his partnership with Franz Gregoro-
vious in a psychiatric clinic.

Dick’s relationship with Nicole deteriorates,
and when she suffers a relapse, he takes a leave
of absence “for his soul’s sake.” “He had lost him¬
self—he could not tell the hour when, or the day
or the week, the month or the year. Once he had
cut through things, solving the most complicated
equations as the simplest problems of his simplest
patients. Between the time he found Nicole flower¬
ing under a stone on the Ziirichsee and the moment
of his meeting with Rosemary the spear had been
blunted” (p. 209).

His father’s death reinforces his growing aware¬
ness of his dissipation, yet he consummates his affair
with Rosemary when he sees her in Rome after his
return from his father’s funeral in America. After a
drunken altercation with a taxi driver, he is beaten
by the Rome police and jailed. When he returns to
the clinic, he and Franz dissolve their partnership
after a patient is removed by his parents, who claim
that their son has twice smelled liquor on Doctor
Diver’s breath.

The Divers return to the Riviera, where Nicole
has an affair with Tommy Barban. Dick and Nicole
quarrel, and he tells her, “I can’t do anything for
you any more. I’m trying to save myself’ (p. 306).
She calls him a coward and a failure and com¬
pletes her psychological break from him: “The case
was finished. Doctor Diver was at liberty” (p. 307).
After their divorce, Dick moves to America, where
he moves from one small town to another practic¬
ing general medicine and claiming that he is work¬
ing on his book.

Fitzgerald’s notes show that Dick Diver’s exter¬
nal qualities were based on Gerald Murphy,
Ernest Hemingway, Ben Finney, Archibald
MacLeish, Charles MacArthur, and himself.
Fitzgerald’s depiction of the decline of Dick Diver
illuminates his own sense of a loss of purpose after
the success of GG, as later chronicled in his 1936
“Crack-Up” essay. The two men share an emo¬
tional bankruptcy marked by drinking, a dislike of
people, an increasing bigotry, and difficulty in com¬
pleting the books they are writing.

Diver, Lanier Son of Dick and Nicole Diver.

Diver, Nicole Warren Wealthy mental patient
who marries Dick Diver. After an incestuous epi¬
sode with her father, Devereux Warren, Nicole
begins to show signs of mental illness at age 16,
and her father takes her to Dohmler’s clinic in
Switzerland for psychiatric treatment. She meets
Dick when he comes to the clinic to visit his
friend, Franz Gregorovious, just before leaving for
France with the army; she writes him many let¬
ters, and their correspondence contributes to her
gradual recovery. When Dick returns to the clinic
after his discharge from the army, Franz tells him
that Nicole is apparently in love with him, and
they agree that Dick should go away. However,
Dick, who admits to being “half in love with her”
(p. 148), is dissatisfied with this solution; when
he encounters Nicole again, he realizes that “her
problem was one they had together for good now”
(p. 165).

They marry and have two children; Nicole suf¬
fers a relapse after the birth of each child. After sev¬
eral happy years together, their relationship begins
to deteriorate as Dick grows more and more depen¬
dent on the Warren money, begins to drink more,
and is attracted to other women. Reflecting on the
decline of their relationship, Nicole thinks, “Why,
I’m almost complete... . I’m practically standing
alone, without him” (p. 294). She has an affair
with Tommy Barban, divorces Dick, and marries
Tommy.

Fitzgerald’s notes indicate that Nicole is a “por¬
trait of Zelda—that is, a part of Zelda”; however,
there is no evidence that Zf.i. da Fitzgerald was a
victim of incest. His plan for the novel includes a
chart comparing Nicole’s and Zelda’s case histories
with the title “parallel between actual case and
case in novel” (F. Scott Fitzgerald Manuscripts IVb,
Part 1, p. 18).

Diver, The Reverend Dick Diver’s father,
who was Dick’s “moral guide”: “Dick loved his
father—again and again he referred judgments to
what his father would probably have thought or
done” (p. 211). Dick learns of his father’s death
during his leave of absence from the clinic and
travels to America for the funeral. His father’s
death reinforces Dick’s growing awareness of his

222 Tender Is the Night

own dissipation; he wishes that “he had always
been as good as he had intended to be” (p. 212).

Fitzgerald’s description of the Reverend Diver
and his relationship with his son is adapted from
“The Death of My Father,” an unfinished essay
about Fitzgerald’s father, Edward Fitzgerald.

Diver, Topsy Daughter of Dick and Nicole Diver.

Dohmler, Doctor Head of the Swiss psychiat¬
ric clinic where Dick Diver meets Nicole Warren
[Diver],

Dumphry, Royal Homosexual whom Rosemary
Hoyt meets on the Riviera. Dumphry later encoun¬
ters Dick Diver in Lausanne and informs him that
Nicole Diver’s father, Devereux Warren, is dying.

Elkins, Ed Man with whom Dick Diver shared an
apartment in Vienna.

Emile Proprietor of an inn near where Nicole
Diver wrecks the car.

Freeman Black restaurateur in Paris who is
arrested when he is mistakenly identified as the
man who stole some money from Abe North. MOR-
LEY CALLAGHAN notes in That Summer in Paris
(New York: Coward-McCann, 1963) that Fitzger¬
ald was involved in a similar experience, accusing
the wrong man of stealing his wallet in a nightclub

(P- 191).

Gausse Proprietor of Gausse’s Hotel des Etrang-
ers, based on the Grand-Hotel du Cap on Cap
D’Antibes. Gausse helps Dick Diver get Mary
[North] Minghetti and Lady Caroline Sibly-Biers
out of jail.

Golding, T. F. Owner of the Margin, a yacht on
which Dick and Nicole Diver crash a party and
where they reencounter Tommy Barban and meet
Lady Caroline Sibly-Biers. This character also
appears in “One Trip Abroad.”

Gregorovious, Franz Swiss psychopathologist at
Dohmler’s clinic. He and Dick Diver open a clinic

together on the Ziirichsee; Gregorovius later takes
over the clinic when they dissolve their partnership.

Gregorovious, Kaethe Dr. Franz Gregorovious’s
wife, who dislikes Nicole Diver and tells Franz that
Dick Diver “is no longer a serious man” (p. 249).

Hannan, Carly Man whom Dick Diver meets
with Tommy Barban at a cafe in Munich.

Hillis, Bill Young man with whom Rosemary
Hoyt got into trouble on a train. Collis Clay’s report
of this episode to Dick Diver intensifies Dick’s
desire for Rosemary.

Holmes Dick Diver’s father’s curate, who cables
the message that the Reverend Diver has died.

Hoyt, Rosemary Eighteen-year-old actress
from whose point of view most of Book I is pre¬
sented, depicting an idealized version of Dick and
Nicole Diver. She is heavily influenced by her
mother, Mrs. Elsie Speers, who handles the busi¬
ness matters of Rosemary’s career. Rosemary falls
in love with Dick and eventually has an affair
with him.

The character of Rosemary evolved from a
combination of actress LOIS MORAN and Francis
Melarky, the protagonist of an early version of the
novel. Although Melarky was a violent young man
who was to murder his mother, none of his experi¬
ences that were transferred to Rosemary are inap¬
propriate to her character.

Ladislau, Doctor Physician at Dick Diver and
Franz Gregorovious’s clinic whom Dick dislikes.
He is unable to pacify Mr. Morris, who comes
to remove his son, Von Cohn Morris, from the
clinic.

Lucienne The Divers’ maid, who has difficulty
operating the heater for the bathwater during their
visit to the Minghettis’ home.

Marmora, Tino Italian count whom Dick Diver
encounters with Nicole Warren [Diver] on the
Glion funicular.

Tender Is the Night 223

McBeth, Mr. Manager-owner of the Paris hotel
where Jules Peterson is murdered. Because Dick
Diver had previously made an effort to ingratiate
himself with him, McBeth arranges for Dick’s and
Rosemary’s names to be kept out of the situation.

McKibben, Mr. Man whom Dick Diver meets
with Tommy Barban at a cafe in Munich.

McKisco, Albert American novelist whom Rose¬
mary Hoyt meets on the Riviera. His duel with
Tommy Barban gives him the self-confidence that
becomes the basis for his future success. It is pos¬
sible that McKisco was intended as a satirical refer¬
ence to Robert McAlmon.

McKisco, Violet Albert McKisco’s wife, who
finds Nicole Diver behaving hysterically in the
bathroom at the Villa Diana and whose comments
about the scene lead to the duel between Albert
McKisco and Tommy Barban.

Minghetti, Conte di (Hosain) Mary North’s
second husband, a wealthy Eastern ruler with a
papal tide.

Minghetti, Tony The Conte di Minghetti’s ill
son. Lanier Diver’s assertion that he was bathed in
Tony’s dirty bathwater leads to a quarrel between
the Divers and Mary [North] Minghetti.

Morris, Mr. Australian who removes his son,
Von Cohn Morris, from Dick Diver and Franz
Gregorovious’s clinic after his son reports smelling
alcohol on Doctor Diver’s breath.

Morris, Von Cohn Alcoholic and kleptomaniac
patient whose parents remove him from Dick Diver
and Franz Gregorovious’s clinic after he reports
that he has smelled alcohol on Doctor Diver’s
breath. This event precipitates the dissolution of
the partnership between Dick and Franz.

Muchhause Bank employee in Paris.

Nicotera Actor who is appearing in The Gran -
deur That Was Rome with Rosemary Hoyt in Rome.

He wants to marry Rosemary, and his attention to
her makes Dick Diver jealous.

North, Abe Friend of Dick and Nicole Diver;
an alcoholic composer whose career lags after a
brilliant start. He is beaten to death in a New York
speakeasy.

Based on RING LARDNER, whose death and unful¬
filled genius Fitzgerald mourns through his depic¬
tion of Abe. Fitzgerald also used some of Charles
MacArthur’s characteristics for Abe.

North, Mary (later Mary Minghetti) Friend of
Dick and Nicole Diver. Wife of Abe North and
later of the Conte di Minghetti.

Paul Concessionnaire at the Ritz Bar who talks
with Abe North.

Perrin Bank employee in Paris.

Peterson, Jules Black man who is variously iden¬
tified as being from Stockholm and from Copen¬
hagen; a failed manufacturer of shoe polish who is
shot and found dead in Rosemary Hoyt’s hotel room
after he helps Abe North incorrectly identify the
man who stole some money from Abe. Dick Diver
removes the body from Rosemary’s room to pro¬
tect her reputation and movie career; he gives the
bloody bedclothes to Nicole Diver to wash, a situa¬
tion that triggers her second relapse in a fortnight.

Pierce Bank employee in Paris.

Real, Francisco Alcoholic homosexual from
Chile whose father asks Dick Diver to cure him;
Dick refuses the case.

Real, Pardo Ciudad Francisco Real’s father, who
appeals to Dick Diver for help.

Sibly-Biers, Lady Caroline Corrupt English¬
woman whom Dick and Nicole Diver meet on
T. F. Golding’s yacht. Dick offends her, and she
observes that he was seen in questionable company
in Lausanne, where he was interviewing a homo¬
sexual prospective patient. She is later arrested

224 Tender Is the Night

with Mary [North] Minghetti for picking up two
girls while dressed as sailors, and Dick arranges
for their release from jail. Partially based on BlJOU
O’Conor.

Speers, Mrs. Elsie Rosemary Hoyt’s mother,
twice widowed. She has a great influence on Rose¬
mary and decides business matters for her, but she
is ready for Rosemary to be “spiritually weaned” (p.
16). She encourages Rosemary to pursue her inter¬
est in Dick Diver. Based on Lois Moran’s mother,
Gladys Dowling Moran.

Swanson Vice-consul in Rome who accompanies
Dick Diver to court after Dick is beaten and jailed.

Tarmes Fictional village where Dick and Nicole
Diver live in the Villa Diana. Probably based on
Eze, a village in the hills east of Antibes, France.

Villa Diana Fictional residence of Nicole and
Dick Diver in Tarmes. Based on the VILLA AMER¬
ICA of Gerald and Sara Murphy and the home of
EXPATRIATE composer Samuel Barlow (1892-1982),
whose villa was constructed from several houses in
Eze, France.

Wallis, Maria Acquaintance of Dick and Nicole
Diver who shoots an Englishman at the Paris train
station where the Divers are seeing Abe North off
on the beginning of his trip to America.

This shooting may be based on a March 1927
incident in the Gare du Nord, where Countess de
Janze (formerly Alice Silverthorne of Chicago) shot
Raymond Vincent de Trafford and then herself.
See James Fox, White Mischief (New York: Random
House, 1982).

Warren, Beth Evan (Baby) Nicole Diver’s unmar¬
ried older sister. Although she hoped that Nicole
would marry a doctor, she is displeased with Nicole’s
engagement to Dick Diver. She later urges Dick
to use Nicole’s money to buy the clinic with Franz
Gregorovious, and Dick senses that her message is
“We own you” (p. 185).

Warren, Devereux (Charles) Father of Baby
and Nicole Warren. When Nicole begins to show
signs of mental illness, he takes her to Dohmler’s
clinic, where he confesses an incestuous episode
with her. Later, he is treated for alcoholism.

Charles Marquis WARREN, a BALTIMORE writer
who collaborated with Fitzgerald on a movie treat¬
ment for TITN, claimed that Fitzgerald changed
the character’s name from “Devereux” to “Charles”
(Book III, Chapter 2) to acknowledge his help on
the novel, but there is no evidence of collaboration
in the manuscripts.

FURTHER READING

Quotations are from Tender Is the Night: The Cen¬
tennial Edition, edited by Matthew J. Bruccoli (Lon¬
don: Everyman, 1996).

Fitzgerald, F. Scott. Tender Is the Night: The Centennial
Edition, edited by Matthew J. Bruccoli (London:
Everyman, 1996).

Fitzgerald. Tender Is the Night [facsimile of Brucco-
li’s emended copy of the first printing], edited by
Matthew J. Bruccoli (London: Samuel Johnson,
1995).

Fitzgerald. E Scott Fitzgerald Manuscripts IVa: Tender Is
the Night: The Melarky and Kelly Versions, 2 vols.,
and E Scott Fitzgerald Manuscripts IVb: Tender Is
the Night: The Diver Version, 5 vols. Edited by
Matthew J. Bruccoli (New York, London: Garland,
1991).

Bruccoli, Matthew J. The Composition of Tender Is the
Night. Pittsburgh, Pa.: University of Pittsburgh
Press, 1963.

Bruccoli, Matthew J., and George Parker Anderson,
eds. F. Scott Fitzgerald’s Tender Is the Night: A Doc¬
umentary Volume. Dictionary of Literary Biography,
vol. 273 (Detroit: Bruccoli Clark Layman/Thom¬
son/Gale, 2003).

Bruccoli, Matthew J., with Judith S. Baughman. Read¬
er’s Companion to F. Scott Fitzgerald’s Tender Is the
Night (Columbia, University of South Carolina
Press, 1996).

LaHood, Marvin J., ed. and intro. Tender Is the Night:
Essays in Criticism (Bloomington, Ind.: Indiana
University Press, 1969).

"That Kind of Party" 225

Stern, Milton R., ed. and intro. Critical Essays on E
Scott Fitzgerald’s Tender Is the Night. (Boston:
Hall, 1986).

Stern, Milton R. Tender Is the Night: The Broken Uni¬
verse (New York: Twayne, 1994).

“Ten Years in the Advertising
Business”

Satirical article. The Princeton Alumni Weekly 29
(February 22, 1929), 585; Afternoon of an Author.

Brief dialogue between Fitzgerald and adver¬
tising executive Mr. Cakebook, beginning with
Fitzgerald’s first job in advertising at $95.00 a
month and jumping forward 10 years to his service
as a judge in an advertising contest for $1,500.

“That Kind of Party”

Fiction. The Princeton University Library Chronicle
12 (Summer 1951), 167-180; The Basil and Jose¬
phine Stories.

Terrence R. Tipton, who is in love with Dolly
Bartlett, persuades Joe Shoonover to host a party
for the purpose of kissing games. Terrence and Joe
send a forged telegram to Joe’s mother to keep
her away from the party, but the telegram is mis¬
takenly delivered to Terrence’s mother instead.
Mrs. Shoonover arrives at the party and offers to
play the piano for Clap-in-and-clap-out. Carpen¬
ter Moore, whose younger brother, Albert Moore,
had fought with Terrence earlier that day, enlists
the other children in a plot against Terrence, who
overhears the plan and locks Carpenter in a closet.
Terrence later accidentally dumps him out of the
wheelchair, and he stands and walks a few steps
for the first time in five years. After the party Dolly
Bartlett invites Terrence to supper.

Fitzgerald wrote this as a Basil Duke Lee story
but changed the name to Terrence R. Tipton in an
unsuccessful attempt to market the story separately
from the Basil series. Ladies’ Home Journal rejected

it because the children “were both precocious and
rather unpleasant”; the editor told HAROLD Ober
that “parents do not like to think of children ten
years old being so much interested in sex” (As
Ever, p. 317).

CHARACTERS

Aunt Georgie She pays her nephew, Terrence
R. Tipton, a quarter for eating a raw egg; he uses
the quarter to pay for a forged telegram to Joe
Shoonover’s mother to keep her away from Joe’s
party.

Fitzgerald’s Aunt Clara McQuillan had paid
him 25 cents a day for eating a raw egg during his
vacation in the Catskill Mountains in July 1905
(Ledger, p. 159).

Bartlett, Dolly Girl with whom Terrence R. Tip-
ton is in love. She invites him to supper after Joe
Shoonover’s party.

Cary, Mrs. The principal of Mrs. Cary’s Acad¬
emy. She rebukes Terrence R. Tipton for correct¬
ing his teacher.

Cole, Miss Terrence R. Tipton’s teacher, who
says that Mexico City is the capital of Central
America. Terrence corrects her and is rebuked
by the school principal. A similar incident is
recorded in Fitzgerald’s Ledger for September 1906

(p. 161).

Moore, Albert Terrence R. Tipton accidentally
bloodies the nose of this boy, the son of his moth¬
er’s best friend.

Moore, Carpenter Albert Moore’s bad-tem¬
pered older brother, who is in a wheelchair and
uses a cane. At Joe Shoonover’s party he enlists
the other children in a plot against Terrence R.
Tipton.

Palmer, Fats Messenger boy who provides a
blank telegram for Terrence R. Tipton and Joe
Shoonover to use to lure Joe’s mother out of town

226 "Third Casket, The"

during their party. Fats refuses to deliver a forged
telegram himself, but he gets his sister to do the
job. She mistakenly delivers it to Terrence’s mother
rather than Joe’s.

Robbie, Martha A tomboy who breaks up Joe
Shoonover’s party by telling the mothers that the
boys are trying to embrace the girls by force.

Shoonover, Joe Boy whom Terrence R. Tipton
persuades to host a party for the purpose of kissing
games.

Shoonover, Mrs. Joe Shoonover’s mother, who
offers to play the piano for “Clap-in-and-clap-out.”

Tipton, Terrence R. Boy who is in love with
Dolly Bartlett and who persuades Joe Shoonover
to host a party with kissing games. This character
was originally named Basil Duke Lee, but Fitzger¬
ald changed the name in an effort to sell the story
separately from the Basil series.

“Third Casket, The”

Fiction. Written March 1924. The SATURDAY EVE¬
NING Post 196, (May 31, 1924), 8-9, 78; The Price
Was High.

At age 60 Cyrus Girard sends for the sons of
his three best friends to compete to take over his
business and possibly marry his daughter, Lola
Girard. George Van Buren, John Hardwick Par¬
rish, and Rip Jones prove equally satisfactory in
business, so Girard gives them two weeks of lei¬
sure to spend as they will when they retire. He is
furious to discover that Rip Jones is in Chicago
on business when he is supposed to be relaxing,
but when he realizes that Jones shares his passion
for work, he decides to make him his partner and
not to retire yet himself. Meanwhile, Jones has
married Lola.

The title of “The Third Casket” is taken from
William Shakespeare’s The Merchant of Venice, in
which a young woman’s suitors must choose one
of three caskets, or small chests, prepared by her
father.

CHARACTERS

Galt, Mr. Cyrus Girard’s general manager, who
sends Rip Jones to Chicago to handle some silver
shipments.

Girard, Cyrus Businessman who is seeking some¬
one to succeed him when he retires. He sends for
the sons of his three best friends to compete for the
opportunity.

Girard, Lola Cyrus Girard’s daughter, who mar¬
ries Rip Jones.

Jones, Rip (Oswald) Industrious young man
who becomes Cyrus Girard’s partner and marries
Lola Girard.

Parrish, John Hardwick One of three young
men competing to take over Cyrus Girard’s busi¬
ness when he retires.

Van Buren, George One of three young men
competing to take over Cyrus Girard’s business
when he retires.

“This Is a Magazine”

Humorous article. Vanity Fair, 15 (December
1920), 71; In His Own Time.

Dramatic dialogue among various stories, arti¬
cles, and poems in a magazine, including an “Edith
Wharton Story,” a “Baseball Yarn,” a “Detective
Story,” a “British Serial,” a “Robert Chambers
Story,” and two love poems.

This Side of Paradise

Fitzgerald’s first novel. New York: Charles Scrib¬
ner’s Sons, 1920; London: Collins, 1921. Dedica¬
tion: “TO SIGORNEY FAY.”

COMPOSITION

While in ARMY training camp at FORT LEAVEN¬
WORTH, Kansas, in November 1917, Fitzgerald

This Side of Paradise 227

began to write a novel titled “The Romantic Ego¬
tist” (which he sometimes spelled “Egoist”), which
he later described as “a somewhat edited history
of me and my imagination” (“Who’s Who—and
Why,” September 1920; Afternoon of an Author,
p. 84). He worked with a sense of urgency which
he described in a note in the manuscript: “I’m try¬
ing to set down the story part of my generation in
America and put myself in the middle as a sort of
observer and conscious factor. But I’ve got to write
now, for when the war’s over I won’t be able to
see these things as important—even now they are
fading out against the back-ground of the map of
Europe. I’ll never be able to do it again; well done
or poorly. So I’m writing almost desperately—and
so futily” (Princeton University Library; Chap¬
ter 1, p. 19). On January 10, 1918, he wrote to
Edmund Wilson that he had completed 18 of
23 chapters, noting: “Really if Scribner takes it I
know I’ll wake some morning and find that the
debutantes have made me famous over night. I
really believe that no one else could have written
so searchingly the story of the youth of our gen¬
eration” ( Life in Letters, p. 17). The manuscript for
this novel does not survive, but the five carbon¬
copy typescript chapters reveal that it was an early
version of TSOP.

At the end of February 1918, Fitzgerald received
leave from the army and finished his novel at the
Cottage Club at Princeton in March. He sent
the completed typescript to Shane Leslie, who
recommended it to his publisher, CHARLES SCRIB¬
NER, on May 6 (Correspondence, p. 29). Scribners
rejected the novel on August 19 but suggested that
Fitzgerald submit a revised version ( The Romantic
Egoists, p. 34). Fitzgerald revised the novel while
at Camp Sheridan and resubmitted it. The revised
novel was rejected in October, and Fitzgerald cap¬
tioned the telegram in his scrapbook “the end of
a dream” (The Romantic Egoists, p. 35). Thinking
the material might have been too strong for the
conservative Scribners firm, Fitzgerald asked Scrib¬
ners editor Maxwell Perkins to send the novel to
another publisher, who also declined it.

In July 1918 Fitzgerald met ZELDA Sayre
[Fitzgerald], who eventually agreed to marry
him when he succeeded in New York, where he
moved in February 1919 and took a job with the
Barron Collier advertising agency. That spring he
wrote 19 stories and received 122 rejections, sell¬
ing only a revision of his 1917 NASSAU Liter-
ARY MAGAZINE story “Babes in the Woods” to The
Smart Set —his first commercial story sale. Zelda
broke their engagement in June, and Fitzgerald

W. E. Hill's dust jacket for Fitzgerald's first novel, published in 1920. (Bruccoli Collection of F. Scott Fitzgerald,
University of South Carolina)

228 This Side of Paradise

quit his job and returned to St. Paul in July to
work on his novel.

On July 26, 1919, Fitzgerald wrote to Maxwell
Perkins that he had completed the first draft of
a novel called “The Education of a Personage,”
explaining inaccurately that it was “in no sense a
revision of the ill-fated Romantic Egotist but it con¬
tains some of the former material improved and
worked over and bears a strong family resemblance
besides” (Life in Letters, p. 28; Scott/Max, p. 17); his
September 4 letter details the connections between
the two versions of the novel ( Life in Letters, pp. 31-
32; Scott/Max, p. 20). On August 16 he informed
Perkins of the new title, This Side of Paradise, taken
from the last lines of Rupert Brooke’s “Tiare
Tahiti”—“Well, this side of paradise / There’s little
comfort in the wise”—which appeared on the title
page of Fitzgerald’s novel. Fitzgerald sent the type¬
script to New York with a friend, Thomas Daniels,
on September 4 (Life in Letters, pp. 29-31; Scott/
Max, pp. 18-19), and Perkins accepted the novel on
September 16 (Scott/Max, p. 21).

Fitzgerald described his own response in “Early
Success,” published 17 years later: “Then the post¬
man rang, and that day I quit work and ran along
the streets, stopping automobiles to tell friends
and acquaintances about it—my novel This Side of
Paradise was accepted for publication. That week
the postman rang and rang, and I paid off my ter¬
rible small debts, bought a suit, and woke up every
morning with a world of ineffable toploftiness and
promise” (October 1937; CU, p. 86).

Fitzgerald moved to New ORLEANS to write,
and during visits to MONTGOMERY, he persuaded
Zelda to marry him. He returned to New York for
a month but moved to the Cottage Club at the end
of February 1920 so that he would be in Princeton
when his novel was published.

PUBLICATION AND RECEPTION

This Side of Paradise was published on March 26,
1920, at $1.75, with a dust jacket illustrated by W.
E. Hill. The first printing of 3,000 copies sold out in
three days. Fitzgerald’s slogan “A NOVEL ABOUT
FLAPPERS WRITTEN FOR PHILOSOPHERS”
appeared in the first ads. As Fitzgerald had predicted,
he became famous almost overnight. Most of the

reviews of his novel were positive. H. L. MENCKEN
called it “the best American novel that I have seen
of late” (The Smart Set, 62 [August 1920], 140; FSF:
The Critical Receptbn, p. 28). Burton Rascoe wrote
in the Chicago Tribune: ‘“This Side of Paradise’ gives
him, I think, a fair claim to membership in that small
squad of contemporary American fictionists who
are producing literature.... It bears the impress, it
seems to me, of genius. It is the only adequate study
that we have had of the contemporary American in
adolescence and young manhood” (“A Youth in the
Saddle,” April 3, 1920, p. 11; F. Scott Fitzgerald: The
Critical Reception, p. 3). JOHN O’Hara later wrote
that a half million men and women between 15 and
30 fell in love with the book (The Portable F. Scott
Fitzgerald, p. vii). (See also CRITICAL REPUTATION AND
RECEPTION OF NOVELS.)

SYNOPSIS

Book One: The Romantic Egotist

1. Amory, Son of Beatrice

Amory Blaine is indulged by his eccentric mother,
Beatrice Blaine, with whom he travels around the
country during his boyhood. Amory feels a sense
of superiority, that he is “a boy marked for glory,”
and he formulates a code of “aristocratic egotism”
(p. 19). He meets Msgr. Thayer Darcy, with whom
his mother had once had a romance, and feels an
immediate kinship with the priest, who becomes a
major influence in his life. Amory is unpopular in
his first year at St. Regis prep school, but over time
he is accepted and becomes a star quarterback and
editor of the school paper.

2. Spires and Gargoyles

Amory enters Princeton, where he wants “to pull
strings” and “to be admired” (p. 52). He joins the
TRIANGLE Club and the board of the Princetonian
and is elected to the Cottage Club. During Christ¬
mas vacation of his sophomore year, he falls in
love with Isabelle Borge (an episode borrowed from
Fitzgerald’s 1917 story “Babes in the Woods”).

3. The Egotist Considers

When Isabelle comes to Princeton for the prom,
she and Amory quarrel and break up. Amory fails
a crucial exam in conic sections and thus loses

This Side of Paradise 229

several opportunities for leadership in college. His
father dies, and Amory learns of the dwindling of
his family’s fortune.

Monsignor Darcy explains to Amory his dis¬
tinction between a personality and a personage:
“Personality is a physical matter almost entirely; it
lowers the people it acts on—I’ve seen it vanish in
a long sickness. But while a personality is active,
it overrides ‘the next thing.’ Now a personage, on
the other hand, gathers. He is never thought of
apart from what he’s done. He’s a bar on which a
thousand things have been hung—glittering things
sometimes, as ours are; but he uses those things
with a cold mentality back of them” (pp. 113—114).
Darcy classifies both Amory and himself as person¬
ages. While in the apartment of two New York
showgirls, Amory senses “a sort of infinite evil” (p.
126) and the presence of a devil figure.

4. Narcissus Off Duty

Amory’s friend Burne Holiday leads a revolt against
the clubs at Princeton. Amory meets his widowed
cousin, Clara Page, with whom he falls in love, but
she refuses to marry him. Amory and his friends grad¬
uate from Princeton and join the armed services.

Interlude: May, 1917-February, 1919

Amory serves in the war. Beatrice Blaine dies, and
Amory learns of the further dwindling of her estate.
After the war he and two friends from Princeton,
Alec Connage and Thomas Parke D’Invilliers, plan
to take an apartment together in New York.

Book Two: The Education of a Personage

1. The Debutante

Amory, who has taken a job with an advertising
agency, falls in love with Alec’s sister Rosalind
Connage, and they talk of marriage, but she even¬
tually breaks up with him to marry wealthy Daw¬
son Ryder because she fears a life of boredom and
responsibility while Amory struggles to make his
way. This section is a revision of Fitzgerald’s 1917
play “The Debutante.”

2. Experiments in Convalescence

Amory quits his job and spends three weeks drink¬
ing to get over the loss of Rosalind, ending his spree

when Prohibition begins. Alec Connage moves
home. Amory is bored and restless, and he argues
to Tom D’Invilliers that the war “sort of killed indi¬
vidualism out of our generation” (p. 228). Tom and
Amory move out of their apartment when Tom’s
mother falls ill, and Amory travels to Maryland to
visit an uncle.

3. Young Irony

In Maryland Amory meets Eleanor Savage, a reck¬
less, romantic atheist who chafes at the limitations
of being a girl. His interest in her fades when, on
their last night together before his return to New
York, she nearly rides off a cliff to prove that she
will not call for God’s help on her deathbed.

4. The Supercilious Sacrifice

In Atlantic City Amory encounters Alec Connage
and agrees to share his hotel suite when Alec’s
friend who occupies the other room has to leave
town. When a hotel detective pounds on the door
in the middle of the night because Alec was seen
going upstairs with Jill Wayne, Amory pretends
that Jill was with him so that Alec will not get
into trouble. Two days later he learns of Rosalind’s
engagement to Dawson Ryder, is informed of the
further decline of his inheritance, and learns of
Monsignor Darcy’s death.

5. The Egotist Becomes a Personage

Reflecting bitterly on his life, Amory feels a sudden
“overwhelming desire to let himself go to the devil”
(p. 281). He thinks there are no more heroes, and
he resents that people who have pretended to
know something really knew nothing. He is disil¬
lusioned by the contradictions he sees in others,
and he concludes: “Life was a damned muddle
... a football game with every one off-side and
the referee gotten rid of—every one claiming the
referee would have been on his side . ..” (p. 285).
He attends Monsignor Darcy’s funeral and decides
that he wants to be indispensable and to give peo¬
ple a sense of security like Monsignor Darcy and
Burne Holiday did. Amory argues socialism with
a man who offers him a ride as he is walking to
Princeton and who turns out to be the father of
one of his Princeton classmates. Princeton goes
on “as an endless dream . . . the spirit of the past

230 This Side of Paradise

brooding over a new generation” for whom Amory
feels sorry: “a new generation dedicated more than
the last to the fear of poverty and the worship of
success; grown up to find all God’s dead, all wars
fought, all faiths in man shaken” (p. 304). With¬
out knowing why, Amory has decided to continue
his struggle, to “use to the utmost himself and his
heritage from the personalities he had passed” (p.
305). He cries, “I know myself . . . but that is all”
(p. 305).

CRITICAL COMMENTARY

TSOP is significant in American fiction for its
serious treatment of the liberated girl and of col¬
lege life. According to magazines and newspapers
of 1920, girls consulted it as an instruction book.
It was the first serious American college novel
since Owen Johnson’s (1878-1952) Stover at Yale
(1911), which was written for boys. The college
novel became a booming subgenre of American lit¬
erature in the 1920s because the college experience
became available to a broader section of the Amer¬
ican public. TSOP seemed to provide inside infor¬
mation about the Big Three Ivy League schools
(Harvard, Yale, Princeton), and young people read
the novel as a guidebook to college. Significantly,
in the novel, nothing much happens in the class¬
rooms; what is important is making connections,
building status, and so on.

After the publication of TSOP, which describes
Princeton as “the pleasantest country club in
America” (p. 40), Princeton president JOHN Grier
Hibben wrote to Fitzgerald to express his distress:
“I cannot bear to think that our young men are
merely living for four years in a country club and
spending their lives wholly in a spirit of calculation
and snobbishness” (May 27, 1920; Correspondence,
p. 58). Fitzgerald replied on June 3:

It was a book written with the bitterness of my
discovery that I had spent several years trying
to fit in with a curriculum that is after all made
for the average student....

I don’t mean at all that Princeton is not
the happiest time in most boys lives. It is of
course—I simply say it wasn’t the happiest time
in mine. I love it now better than any place on

earth. ... I have no fault to find with Princeton
that I can’t find with Oxford and Cambridge. I
simply wrote out of my own impressions, wrote
as honestly as I could a picture of its beauty.
That the picture is cynical is the fault of my
temperment....

I must admit however that This Side of
Paradise does over accentuate the gayiety +
country club atmosphere of Princeton. For the
sake of the readers interest that part was much
over stressed, and of course the hero not being
average reacted rather unhealthily I suppose
to many perfectly normal phenomena. To that
extent the book is inaccurate. It is the Prince¬
ton of a Saturday night in May. Too many intel¬
ligent class mates of mine have failed to agree
with it for me to consider it really photographic
any more, as of course I did when I wrote it
(Life in Letters, pp. 37 &40).

Fitzgerald described his novel as “A Romance
and a Reading List” ( Notebooks, #1021), for he
characterizes Amory Blaine through his reading,
mentioning 64 titles and 98 writers. Amory and
his friends’ use of literature as a source for personal
codes and models became one of the defining char¬
acteristics of the college novel in America.

Like Amory, Fitzgerald was influenced by the
“quest novels” of COMPTON MACKENZIE ( Sinister

Street, 1913-14), Robert Hugh Benson (None
Other Gods, 1910), and H. G. Wells (The Research
Magnificent, 1915). “In the ‘quest’ book the hero
set off in life armed with the best weapons and
avowedly intending to use them as such weapons
are usually used, to push their possessors ahead as
selfishly and blindly as possible, but the heroes of the
‘quest’ books discovered that there might be a more
magnificent use for them” (TSOP, pp. 131-132).
TSOP is itself a record of Amory Blaine’s quest.

Realism and Romanticism

TSOP was also a milestone in American literature
for its attempt to combine the normally incongru¬
ous elements of realism (actual) and romanticism
(ideal). The novel was realistic in its exposure of
what life was really like at prep school and Princ¬
eton and its inside look at how these privileged

This Side of Paradise 231

young people behaved. It demonstrated one of the
trademarks that would characterize Fitzgerald’s
writing—his ability to capture how things really
were without resorting to straight documentary
writing. He was factually accurate without sound¬
ing journalistic, and he used evocative details and
nuances of style to convey the moods of a specific
time and place.

TSOP was also romantic in its concern with
mutability or change and in Fitzgerald’s trademark
emphasis on aspiration, which reaches its peak in
Jay Gatsby in his third novel. Amory Blaine is a
highly autobiographical character, sharing Fitzger¬
ald’s sense of the possibilities of life and his aspira¬
tion toward the fulfillment of his unique destiny.
By age 13 he already feels himself to be “particu¬
larly superior” (p. 9), and he soon formulates his
“first philosophy, a code to live by ... which was
a sort of aristocratic egotism” (p. 19). There is a
strong sense of noblesse oblige in TSOP and lin¬
gering traces in Fitzgerald’s later work; this is the
way that young people—especially young men of
privilege—were trained to think until the middle
of the 20th century. Lionel Trilling observed that
Fitzgerald “was perhaps the last notable writer to
affirm the Romantic fantasy, descended from the
Renaissance, of personal ambition or heroism, of
life committed to, or thrown away, for some ideal
of self’ (The Liberal Imagination [New York: Viking,
1950], p. 249).

Weaknesses in the Novel
Although TSOP is remarkable for its material and
its popular impact, it is flawed by technical weak¬
nesses. One reviewer described TSOP as “the col¬
lected works of F. Scott Fitzgerald” (R.V.A.S., The
New Republic 22 [May 12, 1920], 362; FSF: The
Critical Reception, p. 22). The novel contains a vari¬
ety of Fitzgerald’s earlier work: the stories “Babes
in the Woods,” “The Spire and the Gargoyle,” and
“Sentiment—and the Use of Rouge”; the poems
“Princeton—The Last Day,” “On a Play Twice
Seen,” and “The Cameo Frame”; and the play “The
Debutante.” Fitzgerald inserted several of these
pieces in their entirety—with some revision—and
used only passages from others. As he matured as a

writer, he would refine his technique for recycling
material, “stripping” stories for passages and even
brief descriptions to use in his novels.

The eclectic mix of styles and the inclusion
of plays and verse led some to regard TSOP as
experimental or innovative, but the young author’s
inexperience with structuring a novel was a major
factor in the loose form. He also had difficulty con¬
trolling the narrative voice—an aspect he would
later master in The Great Gatsby. The story shifts
from Amory’s point of view to the omniscient
authorial voice.

Fitzgerald’s method of composition also contrib¬
uted to the book’s weaknesses. The complete work¬
ing draft of the novel, more than 600 pages, included
holograph (handwritten) leaves and revised type¬
scripts from “The Romantic Egotist” and other pre¬
viously written material. Fitzgerald rewrote the early
chapters, even the material salvaged from “The
Romantic Egotist,” but after leaf 196, he began to
splice in typescript leaves and made fewer revisions.
(See James L. W. West’s introduction to the Cam¬
bridge University Press edition of TSOP for details
about the composition process and its effects on the
published novel.)

Fitzgerald identified his use of subheadings
within chapters as “one of the few consciously orig¬
inal things” in TSOP (to Bennett Cerf, August 13,
1936; Life in Letters, p. 306). When returning the
first batch of corrected proofs to Perkins, Fitzger¬
ald emphasized his desire for printing the sub¬
headings in a different kind of type. He explained
that he borrowed the idea from George Bernard
Shaw’s prefaces and noted: “Those sub-headings
are intended as commentaries, sort of whimsical com -
mentarties rather more than they are intended as
titles” (Jan. 21, 1920; Scott/Max, p. 27). Some of
the subheadings, such as “Preparatory to the Great
Adventure” (p. 21) or “Heroic in General Tone”
(p. 34), serve that purpose, but they often seem
more like weak links between segments in lieu of
real transition.

The first edition of TSOP was peppered with
spelling and usage errors. Even the dedication to
“Sigorney Fay” misspelled Msgr. SIGOURNEY Fay’s
first name. Even reviewers who praised the novel

232 This Side of Paradise

ridiculed the errors, and New York Tribune col¬
umnist Franklin P. Adams (F.P.A.) published lists
of the novel’s mistakes (“The Conning Tower,”
July 6 and 14, 1920). Adams’s lists, along with five
other lists of errors, are included in Appendix 3 of
the Cambridge University Press edition of TSOP.
More than 40 corrections were made in subsequent
printings of the first edition, but some of the errors
remained uncorrected. Fitzgerald expected that his
publisher would correct errors, but his books were
not copyedited properly. (See editing Fitzgerald’s
TEXTS.) The sloppy text of TSOP was responsible
for beginning Fitzgerald’s reputation as careless
or illiterate—an image that has hindered proper
assessment of his literary genius.

The Character of Amory Blaine

The two sections of the novel reflect the concepts
of character that shape Amory Blaine, and each
section has a love story. Book One, “The Romantic
Egotist,” focuses on his youth and college days, his
aspirations and his code of “aristocratic egotism.”
The books are bridged by a brief “interlude” of
correspondence and verse to account for Amory’s
experience overseas in World War I. His expe¬
riences are not detailed since Fitzgerald had no
firsthand knowledge of battle. Book Two, “The
Education of a Personage,” is based on Monsignor
Darcy’s concepts of personality and personage and
focuses on Amory’s renewed quest as a personage.

When Fitzgerald sent TSOP to Maxwell Per¬
kins, he commented, “I certainly think the hero
gets somewhere” (Sept. 4, 1919; Scott/Max, p. 20;
Life in Letters, p. 32)—responding to the complaint
in Scribners’ original rejection letter for “The
Romantic Egotist” that “the story does not seem to
us to work up to a conclusion:-neither the hero’s
career nor his character are shown to be brought to
any stage which justifies an ending” (The Romantic
Egoists, p. 34).

The published novel ends with Amory’s deter¬
mination to continue his struggle and his cry, “I
know myself . . . but that is all” (p. 305). The
extent of Amory’s self-knowledge is uncertain, but
beginning a new quest is an appropriate ending for
a quest novel. This final line ends with a dash in
the manuscript, emphasizing the open-endedness

of Amory’s quest, but the published book prints a
period in place of the dash. It is impossible to deter¬
mine whether Fitzgerald or a Scribners editor made
the change.

In “The Author’s Apology,” which was tipped
into copies of the third printing of TSOP distrib¬
uted at the American Booksellers Association con¬
vention in May 1920, Fitzgerald wrote: “I don’t
want to talk about myself because I’ll admit I did
that somewhat in this book. In fact, to write it took
three months; to conceive it—three minutes; to
collect the data in it—all my life. The idea of writ¬
ing it came on the first of last July: it was a substi¬
tute form of dissipation” (In His Own Time, p. 164).
In 1925 he wrote in his own copy of TSOP: “I like
this book for the enormous emotion, mostly imma¬
ture and bogus, that gives every incident a sort of
silly ‘life.’ . . . But the faked references and intel¬
lectual reactions + cribs from MacKenzie, John¬
ston, Wells, Wilde, Tarkington give me the pip”
(Princeton University Library, p. 305). Fitzgerald
had previously written a preface for the novel that
was not used; see F. Scott Fitzgerald’s Preface to This
Side of Paradise.

TSOP achieved Fitzgerald’s goals of fame and
winning Zelda, and his early success became a for¬
mative influence on the rest of his career, shaping
his romantic emphasis on aspiration. In his 1937
essay “Early Success,” he explained its impact: “The
compensation of a very early success is a conviction
that life is a romantic matter” (p. 89). He reflected
on the intervening years and recalled the time of
his youthful dreams and success, “when the fulfilled
future and the wistful past were mingled in a single
gorgeous moment—when life was literally a dream”
(P- 90).

CHARACTERS AND A PLACE

Allenby Football captain at Princeton. Based on
Hobey Baker (1892-1918), the legendary Princ¬
eton athlete who was killed in the war.

See John Davies, The Legend of Hobey Baker
(Boston: Little, Brown, 1966).

Barlow, Mr. President of the advertising agency
where Amory Blaine works after his discharge from
the army.

This Side of Paradise 233

Barton, Mr. The Blaine family’s lawyer, who
keeps Amory Blaine apprised of the decline of his
family’s wealth.

Blaine, Amory Young man who from his boy¬
hood considers himself superior and destined for
a great future and who lives by a code of “aristo¬
cratic egotism” (p. 19). He is unpopular at St. Regis
prep school until he becomes a football hero. He
becomes the protege of Msgr. Thayer Darcy, who
encourages his ambitions and introspection.

Amory goes to Princeton, where he becomes
active in the Triangle Club, is elected to the Cot¬
tage Club, and serves on the board of the Princeton -
ion, though he forfeits his chance at the editorship
by failing a crucial exam. He falls in love with Isa¬
belle Borge, but they eventually break up because
she thinks he is too critical. He serves in the army
during the war, and he learns of the loss of his fam¬
ily’s wealth after his mother’s death. He takes a job
with an advertising agency in New York. He falls
in love with Princeton classmate Alec Connage’s
sister Rosalind Connage, and they talk of marriage,
but she breaks up with him to marry wealthy Daw¬
son Ryder. Amory drinks for three weeks to get
over her loss and quits his advertising job.

While visiting an uncle in Maryland, he meets
reckless, romantic Eleanor Savage. He makes a
“supercilious sacrifice” when Alec is caught in an
Atlantic City hotel room with Jill Wayne; Amory
tells the house detective that Jill was with him.
Amory’s sense of evil, which he connects with sex,
is underscored by supernatural events, such as his
sense of a presence in the curtains of the hotel room
and his earlier hallucination of a devil figure in the
apartment of two New York showgirls. Discouraged
with the progress of his life and disillusioned with
the inconsistencies he sees in the lives of others,
Amory reflects that life is a “damned muddle” (p.
285).

Finally, with the death and funeral of Darcy,
Amory realizes that he wants not to be admired or
loved but to be indispensable and to give people a
sense of security. Returning to Princeton at the end
of the novel, he determines to continue his strug¬
gle, to “use to the utmost himself and his heritage
from the personalities he had passed” (p. 305). He

cries, “I know myself . . . but that is all” (p. 305).
Amory Blaine is a highly autobiographical charac¬
ter, sharing Fitzgerald’s sense of the possibilities of
life and his aspiration toward the fulfillment of his
unique destiny.

Blaine, Beatrice O'Hara Amory Blaine’s eccen¬
tric, indulgent mother who enjoys recounting her
various ailments. “Though she thought of her body
as a mass of frailties, she considered her soul quite
as ill,” so “next to doctors, priests were her favorite
sport” (p. 7). She had a romance with Monsignor
Darcy before he joined the Catholic Church. She
dies while Amory is in the army.

Blaine, Stephen Amory Blaine’s unassertive
father, who passes to his son his “tendency to waver
at crucial moments” (p. 3). He and Amory are never
shown together in the novel, and he dies during
Amory’s junior year at Princeton.

Borge, Isabelle Amory Blaine’s first love, whom
he meets during the Christmas holidays of his soph¬
omore year at Princeton when she is visiting her
cousin, Sally Weatherby, in Minneapolis. They cor¬
respond all spring, and she comes to Princeton in
June for the prom. The next day they go to her
family’s summer place on Long Island, and they
quarrel and break up. Based on GlNEVRA King.

Borge, Mrs. Isabelle Borge’s mother, who escorts
her daughter to Princeton to attend the prom with
Amory Blaine.

Carling A Princetonian whom Amory Blaine
encounters at the Knickerbocker Bar after his
breakup with Rosalind Connage.

Column, Phoebe One of two New York show¬
girls in whose apartment Amory Blaine sees a devil
figure.

Connage, Alec A Princeton friend of Amory
Blaine and the brother of Rosalind and Cecelia
Connage. He shares a New York apartment with
Amory and Tom D’Invilliers after the war. When
an Atlantic City hotel detective catches him in a

234 This Side of Paradise

room with Jill Wayne, Amory claims that the girl
was with him to protect Alec’s reputation.

Connage, Cecelia Alec and Rosalind Con-
nage’s 16-year-old sister, who smokes Rosalind’s
cigarettes.

Connage, Leland R. Father of Alec, Cecelia,
and Rosalind Connage.

Connage, Mrs. Leland R. Alec, Cecelia, and
Rosalind Connage’s mother, who instructs Rosalind
how to behave at her debut. She discourages Rosa¬
lind’s relationship with Amory Blaine and encour¬
ages her to marry wealthy Dawson Ryder.

Connage, Rosalind Alec Connage’s sister, a
New York debutante with whom Amory Blaine falls
in love. They talk of marriage, but she eventually
breaks up with him to marry wealthy Dawson Ryder
because she fears a life of boredom and responsibil¬
ity while Amory struggles to make his way.

Based on a combination of Zelda Fitzgerald
and Beatrice Normandy from H. G. Wells’s Tono-
Bungay (1909). In a 1923 interview, Zelda com¬
mented: “I love Scott’s books and heroines. I like
the ones that are like me! That’s why I love Rosa¬
lind in This Side of Paradise. ... I like girls like
that. ... I like their courage, their recklessness and
spend-thriftness. Rosalind was the original Ameri¬
can flapper” (In His Own Time, p. 259).

Darcy, Msgr. Thayer Catholic priest with
whom Beatrice O’Hara [Blaine] had a romance
when he was a “pagan, Swinburnian young man”
(p. 7) before entering the priesthood. “He was
intensely ritualistic, startlingly dramatic, loved
the idea of God enough to be a celibate, and
rather liked his neighbor” (p. 24). He becomes
Amory Blaine’s mentor and encourages his ambi¬
tions and introspection. Darcy’s death and funeral
near the end of the novel cause Amory to realize
that he wants not to be loved and admired but to
be indispensable and to give people a sense of
security. Based on Msgr. Cyril Sigourney Web¬
ster Fay.

DeWitt, Marylyn Minneapolis girl who writes to
Amory Blaine at Princeton.

Diamond, Margaret Drunken woman who
clings to Amory Blaine at a restaurant.

D'lnvilliers, Thomas Parke Poet and intellec¬
tual who becomes more conventional during his
years at Princeton. He rooms with Amory Blaine
during their last two years of college and shares a
New York apartment with Amory and Alec Con¬
nage after the war when he writes for The New
Democracy. Fitzgerald attributes the epigraph poem
in The Great Gatsby to this character. Based on
John Peale Bishop.

Dougall, Doctor St. Regis administrator who
tells Amory Blaine that Blaine could get the best
marks in school if he wished.

Ferrenby, Jesse Princeton student who becomes
editor of the Princetonian newspaper when Amory
Blaine is disqualified because of failing a crucial
exam. Ferrenby is later killed in the war.

Ferrenby, Mr. Jesse Ferrenby’s father, the “big
man” who gives Amory Blaine a ride at the end of
the novel and with whom Amory argues socialism.

Garvin The “little man” riding with Mr. Ferrenby.

Gillespie, Howard One of Rosalind Connage’s
rejected suitors.

Hancock, Thornton An agnostic, influential
friend of Monsignor Darcy. Based on historian
Henry Adams (1838-1918), a friend of Sigourney
Fay.

Holiday, Burne Kerry Holiday’s brother and a
friend of Amory Blaine at Princeton, where he leads
the movement to abolish clubs. Based on Fitzger¬
ald’s Princeton classmate Henry (Mike) Strater.

Holiday, Kerry Burne Holiday’s brother and a
friend of Amory Blaine at Princeton. He drops out

This Side of Paradise 235

of college to join the Lafayette Escadrille in France
and is killed in the war.

Hollister, Dean Princeton administrator in
whose office a group of students assembles a taxi¬
cab as a prank.

Humbird, Dick A friend of Amory Blaine at
Princeton who is killed in a car wreck. Amory later
sees him as a devil figure in a hallucination at the
apartment of showgirls Phoebe Column and Axia
Marlowe.

Kaluka Homely girl whom Kerry Holiday picks
up on a trip to the shore with Princeton friends.

Langueduc, "Slim" A football player at Princeton
who attends tutoring school with Amory Blaine.

Lawrence, Mrs. Monsignor Darcy’s friend whom
Amory Blaine visits at her home on Riverside Drive
after his breakup with Rosalind Connage. May be
based on Margaret Chan ter .

Margotson, Findle Yale man whom Axia Mar¬
lowe greets at Bistolary’s cafe.

Margotson, Mr. Senior master at St. Regis. He
tells Amory Blaine that Amory is unpopular because
he is too fresh.

Marlowe, Axia One of two New York show¬
girls in whose apartment Amory Blaine sees a devil
figure.

McDowell Arrogant sophomore in Princeton
tutoring school with Amory Blaine.

Olson Atlantic City hotel house detective who
forces Amory Blaine and Jill Wayne to leave the
hotel when Amory pretends that Jill has been with
him rather than with Alec Connage.

Page, Clara Amory Blaine’s widowed third
cousin, the mother of two young children. Amory
finds her delightful and admirable and briefly thinks

of marrying her. Based on Fitzgerald’s cousin Ceci¬
lia Delihant Taylor.

Parker, Froggy A friend of young Amory Blaine
in Minneapolis who later attends Harvard. He is
fascinated by Isabelle Borge, but she is interested
only in Amory.

Paskert St. Regis student with whom Amory
Blaine attends a play in New York.

Rahil I Class president and friend and “co-philos-
opher” of Amory Blaine at St. Regis.

Reardon, Mr. French teacher in Minneapolis in
whose class Amory Blaine shows off.

Richard Myra St. Claire’s chauffeur, who drives
her and Amory Blaine to the Minnehaha Club.

Rooney, Mr. Princeton tutor whose class in conic
sections Amory Blaine fails.

Ryder, Dawson Wealthy young man whom Rosa¬
lind Connage marries instead of Amory Blaine.

St. Claire, Mrs. Myra St. Claire’s mother.

St. Claire, Myra Minneapolis girl who invites
young Amory Blaine to a bobbing party and whom
he kisses. She later writes to him at Princeton.

St. Regis Fictional prep school in TSOP, “The
Family Bus,” “Inside the House,” “The Swimmers,”
“The Freshest Boy” and “The Perfect Life”; based
on the Newman School. In “The Family Bus,” St.
Regis is described as “America’s most expensive
school” (The Price Was High, p. 497).

Savage, Eleanor A reckless, romantic atheist
whom Amory Blaine meets in Maryland. She was
“the last time that evil crept close to Amory under
the mask of beauty” (p. 222). His interest in her
fades when, on their last night together before his
return to New York, she nearly rides off a cliff to
prove that she will not call for God’s help on her
deathbed.

236 Thoughtbook of Francis Scott Key Fitzgerald

See Elizabeth Beckwith MacKie, “My Friend
Scott Fitzgerald,” Fitzgerald/Hemingway Annual
(1970), pp. 16-27.

Savage, Ram illy Eleanor Savage’s grandfather.

Sloane, Fred Amory Blaine’s Princeton friend
with whom he visits the apartment of two New
York showgirls, Phoebe Column and Axia Mar¬
lowe, an occasion on which Amory has a hallucina¬
tion of a devil figure.

Styles, Phyllis “An intercollegiate prom-trotter”
(p. 137) who tricks Burne Holiday into asking her
to the Princeton-Harvard football game.

Wayne, Jill Girl who is caught in an Atlantic
City hotel room with Alec Connage, but who
Amory Blaine tells the house detectives was with
himself. She gives her name as “Stella Robbins” to
the detective.

Weatherby, Mrs. Sally Weatherby’s mother.

Weatherby, Sally Isabelle Borge’s cousin, a Minne¬
apolis girl who writes to Amory Blaine at Princeton.

Wilson, J im A Princetonian whom Amory Blaine
encounters at the Knickerbocker Bar after his
breakup with Rosalind Connage.

Wookey-Wookey Deaf housekeeper at St. Regis
who tells Amory Blaine that he is the best-looking
boy she has ever seen.

Wylie, Tan ad uke A Princeton student whose
poetry Amory Blaine and Tom D’lnvilliers admire
until he takes to a Bohemian life.

FURTHER READING

Quotations are from the first edition (New York:
Scribners, 1920).

Bruccoli, Matthew J. “Fitzgerald’s Marked Copy of
This Side of Paradise,” Fitzgerald/Hemingway Annual
(1971), 64-70.

Fitzgerald, F. Scott. F. Scott Fitzgerald Manuscripts I:
TSOP: The Manuscripts and Typescripts. 2 vols.,
edited by Matthew J. Bruccoli. (New York, Lon¬
don: Garland, 1990).

Fitzgerald. This Side of Paradise, edited by James L. W.
West III (Cambridge: Cambridge University Press,
1995).

Good, Dorothy Ballweg. “A Romance and a Read¬
ing List’: The Literary References in This Side
of Paradise," Fitzgerald/Hemingway Annual (1976):
35-64.

Haywood, Lynn. “Historical Notes for This Side of
Paradise,” Resources for American Literary Study 10
(Autumn 1980), 191-208.

West, James L. W., III. The Making of This Side of
Paradise (Philadelphia: University of Pennsylvania
Press, 1983).

Thoughtbook of Francis Scott
Key Fitzgerald

Introduction by John R. Kuehl. Princeton, N.J.:
Princeton University Library, 1965. Reprinted
from The Princeton University Library Chronicle 26
(Winter 1965), 102-108 and unpaged plates.

Facsimile of a journal which Fitzgerald kept in
1910 and 1911, recording his romances and his
striving for popularity.

“Thoiisand-and-First Ship”

Verse. Notebooks, #857; The Crack-Up; Poems.

This six-stanza poem, which The New Yorker
declined in 1935, includes six lines that origi¬
nally appeared in “Sleeping and Waking,” a 1934
ESQUIRE article; they became Fitzgerald’s best-
known verse:

Three Comrades 237

In the fall of ’16 in the cool of the afternoon
I met Caroline under a white moon
There was an orchestra—Bingo-Bango
Playing for us to dance the tango
And the people all clapped as we arose
For her sweet face and my new clothes—

(CU, pp. 67-68)

“Three Acts of Music”

Fiction. Written February 1936. ESQUIRE 5 (May
1936), 39, 210; The Price Was High.

A doctor and a nurse who have not yet com¬
pleted their medical training discuss marriage, but
do not follow through. Years later he returns from
Vienna to find her supervising an operating room
and proud of her success. Several years after that,
when she is superintendent of a women’s hospital,
he remarks that they will never get married because
it is too late. She concludes that all they had was
the music they listened to together, composed
by Vincent Youmans (1898-1946), Irving Berlin
(1888-1989), and Jerome Kern (1885-1945).

CHARACTERS

doctor (unnamed) Man who is in love with a
nurse whom he never marries.

nurse (unnamed) Woman who contemplates mar¬
rying a doctor but rises in her profession instead.

“Three Cities”

Essay. Brentano’s Book Chat 1 (September-October
1921), 15, 28; In His Own Time.

Fitzgerald’s impressions of Paris, Florence,
Rome, and Oxford.

Three Comrades

In 1937 Fitzgerald was assigned to write the screen¬
play for Three Comrades, a 1929 novel about postwar

Germany by Erich Maria Remarque (1898-1970),
for MGM producer JOSEPH MANKIEWICZ. He sub¬
mitted two-thirds of the screenplay on September
1 before flying east to visit ZELDA FITZGERALD at
Highlands Hospital in Asheville, North Caro¬
lina. On September 4, Fitzgerald wrote to Mankie-
wicz requesting that he be allowed to work alone
on the revisions. Mankiewicz wired on September
9 that what Fitzgerald had submitted was “simply
swell” (Princeton University Library) and that
he could continue alone. However, when Fitzger¬
ald returned to HOLLYWOOD, he was assigned E. E.
PARAMORE as a collaborator to help with construc¬
tion. Fitzgerald and Paramore disagreed over the
latter’s role: Paramore regarded himself as an equal
partner, but Fitzgerald wrote to him on October 24,
“I prefer to keep the responsibility for the script as a
whole” ( Letters , p. 558).

Fitzgerald and Paramore submitted six revi¬
sions of the screenplay, dated November 5, 1937;
December 7, December 13, December 21, and Jan¬
uary 21, 1938; and February 1. Mankiewicz heavily
revised the final script, but screen credit was shared
by Fitzgerald and Paramore. Fitzgerald resented
Mankiewicz’s interference, noting in his copy of the
shooting script, “37 pages mine about 1/3, but all
shadows + rythm removed.” On January 20, 1938,
he wrote Mankiewicz an emotional letter that he
may not have sent:

To say I’m disillusioned is putting it mildly. For
nineteen years, with two years out for sick¬
ness, I’ve written best-selling entertainment,
and my dialogue is supposedly right up at the
top. But I learn from the script that you’ve
suddenly decided that it isn’t good dialogue
and you can take a few hours off and do much
better. . . . You are simply tired of the best
scenes because you’ve read them too much,
and having dropped the pilot, you’re having
the aforesaid pleasure of a child with a box
of chalk. You are or have been a good writer,
but this is a job you will be ashamed of before
it’s over. The little fluttering life of what’s
left of my lines and situations won’t save the
picture. . . . Oh, Joe, can’t producers ever be

238 "Three Hours between Planes"

wrong? I’m a good writer—honest. I thought

you were going to play fair (Life in Letters, pp.

343-345).

At a private screening, the German consul in Los
Angeles objected to the movie’s anti-Nazi stance.
Joseph Breen (1890-1987), censor for the movie
industry, recommended to Mankiewicz that the
movie be altered to make the villains communists
rather than Nazis. Mankiewicz says that when he
refused and threatened to resign, Fitzgerald hugged
him in the MGM commissary to congratulate him
for standing firm.

Three Comrades, directed by Frank BORZAGE
and starring Robert Taylor (1911-69), Margaret
Sullavan (1911-60), Franchot Tone (1905-68),
and Robert Young (1907-1998), was released
in June 1938. A box-office success, it ranked as
one of the 10 best movies of the year. Margaret
Sullavan was nominated for an Academy Award
and won both the New York Critics Award and
the British National Award for best actress of
the year. The movie brought Fitzgerald his only
screen credit. During his revisions with Paramore,
MGM renewed his contract for a year at $1,250
per week.

Fitzgerald’s original screenplay, without Para-
more’s and Mankiewicz’s revisions, has been pub¬
lished as F. Scott Fitzgerald’s Screenplay for Erich Maria
Remarque’s Three Comrades, edited with afterword by
Matthew J. Bruccoli (Carbondale &. Edwardsville:
Southern Illinois University Press, 1978).

“Three Hours between
Planes”

Fiction. Written c. 1940. Esquire 16 (July 1941),
41, 138-139; Stories; Three Hours Between Planes
(Agincourt, Ontario: The Book Society of Canada
Limited, 1970).

During a three-hour wait between planes, Don¬
ald Plant visits Nancy Gifford, whom he had loved
when he was 12. She welcomes him eagerly and
they kiss, but while looking through old photo¬
graphs, she realizes that she has mistaken him for

Donald Bowers, with whom she used to go to a
cave, and she sends him away.

Elihu Winer (b. 1914) wrote a one-act play based
on Fitzgerald’s story (New York: Samuel French,
1958).

CHARACTERS

Bowers, Donald Boy with whom Nancy Holmes
[Gifford] used to go to a cave and whom she briefly
confuses with Donald Plant, who visits her years
later.

Gifford, Nancy Holmes (Mrs. Walter Gifford)

Woman whom Donald Plant had loved when he
was 12 and she was 10 and whom he visits during a
wait between planes.

Plant, Donald Man who visits his childhood
love, Nancy Holmes Gifford, during a wait between
planes. He finds that she has confused him with
Donald Bowers.

“Three Soldiers”

Review of Three Soldiers by JOHN DOS PASSOS. St.
Paul Daily News, September 25, 1921, feature sec¬
tion, p. 6; In His Own Time.

Fitzgerald praises this novel as “the first war
book by an American which is worthy of serious
notice” (In His Own Time, p. 121). The review is
also noteworthy for Fitzgerald’s renunciation of the
influence of H. G. Wells.

“To a Beloved Infidel”

Poem. Fair-copy manuscript, titled “For Shielah, a
Beloved Infidel,” facsimiled on the front endpapers
of Beloved Infidel by SHEILAH Graham and Gerold
Frank (New York: Holt, 1958); Poems 1911-1940.

Fitzgerald submitted the poem to ESQUIRE under
the pseudonym of “John Darcy,” but it was declined
(to Arnold Gingrich, February 23, 1940; Life in
Letters, p. 434).

'Too Cute for Words" 239

“To My Unused Greek Book
(Acknowledgments to Keats)”

Verse. The NASSAU LITERARY MAGAZINE 72 (June
1916), 137; In His Own Time; Poems.

Imitation of “Ode on a Grecian Urn” by JOHN
Keats.

“Too Cute for Words”

Fiction—Gwen Bowers story. Written December
1935. The Saturday Evening Post 208 (April 18,
1936), 16-18, 87, 90, 93; The Price Was High.

Widower Bryan Bowers reluctantly allows his
13-year-old daughter, Gwen Bowers, to go with her
friends Dizzy Campbell and Clara Hannaman to
a dance the night before the PRINCETON football
game. When the girls arrive at Princeton, Dizzy’s
cousin, Esther Ray, informs them that the dance
has been called off, but she lets them go with her
and her date to the Harvard-Princeton concert.
When Esther leaves for the Princeton prom, the
three girls decide to go observe the prom from
outdoors. When they overhear debutante Mar¬
ion Lamb getting engaged to Harry, Harry swears
them to secrecy in return for letting them into
the gymnasium where they can watch the prom
unobserved. When Esther’s little brother, Tommy
Ray, shows up with a telegram for his sister, Gwen
dances across the floor with him to deliver it and is
unaware that her father sees her. The next day she
is horrified by her father’s description of her as “too
cute for words.”

CHARACTERS

Bowers, Bryan Widower who is raising his teen-
aged daughter, Gwen Bowers. He finds that Gwen
has sneaked into the Princeton prom. This charac¬
ter also appears in “Inside the House.”

Bowers, Gwen Character based on SCOTTIE
Fitzgerald. In “Too Cute for Words,” she sneaks
into the Princeton prom. In “Inside the House,”
she sneaks out to a movie with Jason Crawford.

Fitzgerald hoped to create a series of Gwen sto¬
ries and wrote four in 1935 and 1936, but the Sat¬
urday Evening Post declined “The Pearl and the
Fur” and “Make Yourself at Home” and recom¬
mended that he discontinue the series. Harold
Ober sent Fitzgerald a list of 29 improbabilities and
inconsistencies requiring revision in “The Pearl and
the Fur” (April 25, 1936; As Ever, pp. 265-267).
Fitzgerald changed the names of the characters and
sold the two rejected stories to Pictorial Review,
which went out of business without publishing
them. “Make Yourself at Home” was resold to LIB¬
ERTY, which published it as “Strange Sanctuary” in
1939.

Campbell, Dizzy Gwen Bowers’s friend, with
whom she travels to Princeton.

Hannaman, Clara Helen Hannaman’s niece and
Gwen Bowers’s friend, with whom Gwen travels to
Princeton.

Hannaman, Helen Friend of Bryan Bowers.

Harry Young man who sneaks Gwen Bowers,
Dizzy Campbell, and Clara Hannaman into the
Princeton prom in return for secrecy about his
engagement to Marion Lamb.

Lamb, Marion Debutante whom Gwen Bowers,
Dizzy Campbell, and Clara Hannaman see on the
train to Princeton and whom they later overhear
getting engaged to Harry.

Ray, Mrs. Charles Wrotten Dizzy Campbell’s
aunt, who calls off the dance she has planned.

Ray, Esther Dizzy Campbell’s cousin, who takes
Dizzy, Gwen Bowers, and Clara Hannaman to the
Harvard-Princeton concert since their dance has
been called off.

Ray, Tommy (Shorty) Dizzy Campbell’s cousin,
with whom Gwen Bowers dances at the Prince¬
ton prom and who gets her into the football game
although she does not have her ticket.

240 "Trail of the Duke, The"

“Trail of the Duke, The”

Fiction. The Newman News 9 (June 1913), 5-9;
Apprentice Fiction.

Mirabel Walmsley sends her fiance, Dodson
Garland, in search of “the Duke.” Dodson thinks
she means the duke of Matterlane, who is visiting
her father. He searches New York City to no avail
and returns to Mirabel to learn that “the Duke”
is her poodle, which had returned shortly after he
left. Mirabel invites Dodson to meet the duke of
Matterlane the next day, but he refuses.

CHARACTERS

Garland, Dodson Indolent young man whose
fiancee, Mirabel Walmsley, sends him in search of
“the Duke.”

Walmsley, Mirabel Wealthy young woman who
sends her fiance, Dodson Garland, in search of “the
Duke.”

“Trans-Continental Kitty”

In March 1922 David O. Selznick asked Fitzger¬
ald to write a movie synopsis for actress Elaine
Hammerstein (1897-1948); if the synopsis was
accepted, Fitzgerald was to receive $2,500 for
expanding it into an 8,000-word screenplay. The
1,500-word synopsis for “Trans-Continental Kitty”
which Fitzgerald submitted in April was declined.

“ ‘Trouble’ ”

Fiction. Written June 1936. The Saturday Eve¬
ning Post 209 (March 6, 1937), 14-15, 81, 84, 86,
88-89; The Price Was High.

Glenola McClurg, a pretty and capable nurse
nicknamed Trouble, injures her ankle when she
falls off a deck into the arms of Dr. Dick Whee-
lock at the hospital’s annual turtle race. That
evening, she receives a visit from Mrs. Win¬

slow, whose son, Frederic Winslow, is in love
with Trouble, and who asks her to reconsider
her rejection of Frederic’s proposal. Several days
later Doctor Wheelock is treating Trouble’s ankle
when Mrs. Johnston, the new superintendent
of nurses, comes in and rebukes them for being
together. Because Trouble speaks insultingly to
Mrs. Johnston, Doctor Compson dismisses her.
After Trouble sees Doctor Wheelock, to whom
she is attracted, leaving town with a beautiful
girl, she accepts Frederic’s invitations to go riding
and to have dinner at his family’s home. Several
days later she agrees to marry Frederic, but he
gets drunk and follows her into the hospital to
confront Doctor Wheelock, who tells her he has
been worried about her and has gotten her job
back for her. Trouble sees in Wheelock’s eyes
that he is interested in her, too, and she cancels
her engagement to Frederic.

Fitzgerald hoped to develop a series about Trou¬
ble, but The Saturday Evening Post declined the
first story (“Cyclone in Silent Land”; unpublished)
and accepted the second, ‘“Trouble,”’ reluctantly,
advising him to abandon the series and invent a
new character (see As Ever, p. 276). “‘Trouble’”
was the last story he sold to the Post.

CHARACTERS

Compson, Doctor Doctor who fires Trouble at
the request of Mrs. Johnston.

Johnston, Mrs. New superintendent of nurses
who becomes angry when she finds Trouble and
Dr. Wheelock in an operating room and who gets
Trouble fired.

Trouble (Glenola McClurg) A pretty and effi¬
cient nurse who becomes involved with Dr. Dick
Wheelock after she falls off a deck into his arms at
the hospital’s annual turtle race.

Wheelock, Dr. R. H. (Dick) Doctor who becomes
involved with Trouble after she falls off a deck into
his arms at the hospital’s annual turtle race.

Winslow, Frederic Young man who wants to
marry Trouble but whom she does not love.

Winslow, Mr. Frederic Winslow’s father, who
teases Trouble about the incident at the turtle

"Two Old-Timers" 241

Winslow, Mrs. Frederic Winslow’s mother, who
wants Trouble to marry her son.

True Story of Appomattox, The

July 1934. Reprinted in In His Own Time.

Thirty-eight-line newspaper clipping, headed
“Columnist Discovers That It Was Grant Who
Surrendered To Lee Instead Of Lee Surrendering
To Grant: Circumstances Divulged For The First
Time By Captain X.” The article reveals that Lee
handed his sword to Grant not in surrender but
rather so that Grant could sharpen his pencil to put
his own surrender in writing.

Fitzgerald wrote The True Story of Appomat-
tox after MAXWELL PERKINS took him to visit his
cousin, Elizabeth Lemmon, at her family home
“Welbourne” in Middleburg, Virginia. On July
30, 1934, he wrote to Perkins: “I managed to
have my joke about Grant and Lee taken down
on paper. Then last night I had it faked up by the
‘sun’ here in Baltimore” (Scott/Max, p. 203). See
[Joan Crane], “The True ‘True Story of Appo¬
mattox’: A Fitzgerald Fable Verified,” American
Book Collector, 5 (September-October 1980),
8 - 11 .

“Turkey Remains and How to
Inter Them with Numerous
Scarce Recipes”

The Crack-Up; Notebooks, #1234.

Humorous suggestions for using up turkey left
over after the holidays. A limited edition of 2,000
copies was printed by Cooper & Beatty of Toronto
as a Christmas keepsake in 1956.

“Two for a Cent”

Fiction. Written September 1921. Metropolitan
Magazine 55 (April 1922), 23-26, 93-95; The
Price Was High.

Forty-five-year-old Abercrombie, now wealthy
and successful, visits his small southern hometown
and meets Henry W. Hemmick, who has recently
moved out of Abercrombie’s old house. Abercrombie
expresses his resentment that he went north only by
accident rather than through ambition, and Hem¬
mick reveals the circumstances that prevented him
from going north. The penny that Hemmick had lost
while serving as a runner for a bank had been found
by Abercrombie, who needed one more cent to pay
his train fare to Atlanta, his first step in leaving town.

Although Fitzgerald was not fond of “Two for
a Cent,” it was one of his most popular stories and
brought his first textbook appearance, in Short Sto¬
ries for Class Reading (1925).

CHARACTERS

Abercrombie Wealthy and successful man who
visits his southern hometown to see if his roots
hold any significance for him. He decides that they
do not and resents that he did not realize that the
town was “worthless” when he was younger.

Deems, Mr. Bank vice-president who is suspicious
of all bank employees after a cashier disappears with
$30,000 and whom Henry W. Hemmick encounters
while trying to replace a penny he has lost from a
sum he is transporting for the bank.

Hemmick, Henry W. Southern man who was
unable to go North because he had to stay in his
hometown to clear his unjustly scarred reputation
after losing a penny from a sum he was transporting
for the bank where he was employed.

“Two Old-Timers”

Fiction—Pat Hobby story. Submitted December
19, 1939. Esquire 15 (March 1941), 53, 143; Sto¬
ries; The Pat Hobby Stories.

242 "Two Wrongs"

Former movie star Phil Macedon and Pat Hobby
are in an automobile collision involving alco¬
hol. Pat is offended because Macedon does not
remember that they have met before. While they
are waiting in the police station, Sergeant Gaspar
tells Macedon how much his war picture, The Final
Push, meant to veterans. Pat tells Macedon that he
had been at the first day of shooting for that movie
and recalls how director Bill CORKER had shoved
Macedon into the shell hole and filmed him scram¬
bling wildly to get out. After a sobriety test, Pat is
released and Macedon is held for bail.

Fitzgerald wrote to Arnold Gingrich that this
story “was the way ‘The Big Parade’ was really made
King Vidor pushed John Gilbert in a hole—believe it
or not” (December 25, 1939; Correspondence, p. 570).

CHARACTERS

Captain Police captain who is unimpressed by
Phil Macedon.

Corker, Bill Movie director who shoved Phil
Macedon into a shell hole and filmed him.

Gaspar, Sergeant Police sergeant who detains
Phil Macedon and Pat Hobby after their automo¬
bile collision.

Hobby, Pat See entry for this character under
The Pat Hobby Stories.

Macedon, Phil Actor who had been a star in the
silent movies.

“Two Wrongs”

Fiction. Written October-November 1929. The
Saturday Evening Post 202 (January 18, 1930),
8-9, 107, 109,113; Taps at Reveille.

Producer Bill McChesney gives aspiring dancer
Emmy Pinkard a small part in one of his plays, and
they are married suddenly when his play closes.
They move to LONDON after he produces two flops
in New York and quarrels with his best friend
while drinking. He is successful in London, where

he associates with aristocracy. While he is crash¬
ing a party given by Lady Sybil Combrinck, who is
no longer interested in him, Emmy goes alone to
the hospital, where their second child is stillborn.
As Emmy recuperates, she revives her dream of
dancing and takes up ballet lessons. Just when she
is ready for her debut, Bill is diagnosed with tuber¬
culosis and ordered west. She offers to go with him
but really wants to stay in New York, and he tells
her to stay but really wants her to accompany him.
In the end, she stays in New York, justifying herself
by recalling that he had let her down in London.

“Two Wrongs” reflects problems in Fitzgerald’s
personal life—his alcoholism and Zelda Fitzger¬
ald’s unsuccessful effort to dance professionally.
His attempt to understand Zelda’s commitment to
ballet is reflected in his depiction of Emmy’s feel¬
ings about it: “It seemed to her that the dance
was woman’s interpretation of music; instead of
strong fingers, one had limbs with which to render
Tschaikowsky and Stravinski; and feet could be as
eloquent in Chopiniana as voices in ‘The Ring’”
(pp. 525-526).

CHARACTERS

Aronstael Bill McChesney’s best friend, with
whom he had a drunken quarrel.

Brancusi, Mr. Producer with whom Bill Mc¬
Chesney sometimes collaborates. He attempts to
persuade McChesney to return to America from
London.

Cohalan, Miss Bill McChesney’s secretary.

Combrinck, Lady Sybil Woman who was involved
with Bill McChesney but is no longer interested in
him. When he crashes her party, her husband has
him thrown out.

Combrinck, Lord Lady Sybil Combrinck’s hus¬
band, who orders Bill McChesney to be thrown out
of his party.

Donilof Emmy Pinkard McChesney’s ballet mas¬
ter, who urges her not to delay her debut by accom¬
panying her husband West.

unpublished stories 243

Dunn, Sir Humphrey Bill McChesney’s friend,
who persuades Lady Sybil Combrinck’s footman to
admit Bill to the party.

Hubbel, Mr. Mr. Brancusi’s friend, to whom he
introduces Bill McChesney.

Hughes, Easton Emmy Pinkard’s friend, a dental
student.

Kearns, Doctor Bill McChesney’s physician, who
diagnoses his tuberculosis and orders him west to
recuperate.

Lincoln, Sol Man who cancels lunch with Bill
McChesney, leaving McChesney free to take Emmy
Pinkard to lunch.

Llewellen, Frank Actor who becomes involved
with Irene Rikker.

Makova, Paul Dancer who wants Emmy Pinkard
McChesney to dance with him at the Metropolitan.

McChesney, Bill Broadway producer who forfeits
his health and success by a dissipated lifestyle. He
marries aspiring dancer Emmy Pinkard.

McChesney, Billy Son of Bill and Emmy [Pinkard]
McChesney.

Pinkard, Emmy Aspiring dancer from South
Carolina who marries Bill McChesney.

Rikker, Irene Actress who is engaged to Bill
McChesney until she becomes involved with Frank
Llewellen.

Rogers, Alan Playwright who gives Emmy Pinkard
a letter of introduction to Bill McChesney.

“Under Fire”

Review of Through the Wheat by THOMAS Boyd.
The Literary Review of the New York Evening Post,
May 26, 1923, p. 715; In His Own Time.

Excerpts from this review were printed on the
dust jackets of Boyd’s Shadow of the Long Knives
(1928) and Mad Anthony Wayne (1929). Fitzgerald
praises the novel as “not only the best combatant
story of the great war, but also the best war book
since ‘The Red Badge of Courage’” (In His Own
Time, p. 144).

unpublished stories

Fifteen unpublished stories by Fitzgerald are known
through the records of his agent, HAROLD OBER;
his correspondence with Ober; and some surviving
manuscripts and typescripts.

“The I.O.U.” (1920). Ober described this story
as “almost a satire on publishing business.” The
manuscript and a typescript survive.

“Recklessness” (1922). Lost: mentioned in cor¬
respondence, but no synopsis in Ober files and no
surviving manuscript or typescript.

“Nightmare” (“Fantasy in Black”) (1932). Set in
an institution for the insane. Typescript survives.

“What to Do About It” (1933). About a doc¬
tor. One of the medical stories that resulted
from Fitzgerald’s experiences at JOHNS HOPKINS
University Hospital in Baltimore. Typescript
survives.

“Daddy Was Perfect” (1934). About a play¬
wright. Lost: no mention in correspondence, and
no surviving manuscript or typescript; Ober files
include a synopsis.

“Travel Together” (1935). About a movie script¬
writer. Typescript survives.

“I’d Die for You” (“The Legend of Lake Lure”)
(1935-36): About a movie star. Synopsis, consider¬
able correspondence about the story, and a type¬
script survive.

“The Pearl and the Fur” (1936). Sold to Pictorial
Review but never published. Part of the Gwen Bow¬
ers series. Lost. Considerable correspondence with
Ober’s suggestions for revisions, but no surviving
manuscript or typescript.

“Cyclone in Silent Land” (1936). Part of a pro¬
jected series about a nurse nicknamed “Trouble.”
A typescript survives.

244 "Unspeakable Egg, The'

“Thank You for the Light” (1936). Vignette
about a tired saleswoman. A synopsis and type¬
script survive.

“They Never Grow Older” (1937). About a car¬
toonist. Lost: synopsis in Ober files and mentioned
in correspondence, but no surviving manuscript or
typescript.

“Offside Play” (“Athletic Interview,” “Athletic
Interval”) (1937). Football story. Revised carbon
copy, Ober synopsis, and considerable correspon¬
dence survive.

“Temperature” (“The Women in the House”)
(1939). Lost: mentioned in correspondence, but no
surviving manuscript or typescript.

“The Couple” (date of composition unknown).
About a couple on the verge of divorce who are
reunited. Not mentioned in correspondence, but a
typescript and synopsis survive.

“Salute to Lucie and Elsie” (1939). About a
businessman’s shock at his son’s sexual escapades.
A typescript survives.

FURTHER READING

Atkinson, Jennifer McCabe. “Lost and Unpub¬
lished Stories by F. Scott Fitzgerald,” FITZGERALD/
Hemingway Annual (1971): 32-63.

Margolies, Alan. “A Note on Fitzgerald’s Lost and
Unpublished Stories,” Fitzgerald/Hemingway Annual
(1972): 335-336.

Prigozy, Ruth. “The Unpublished Stories: Fitzgerald
in His Final Stage,” Twentieth'Century Literature 20
(April 1974): 69-90.

“Unspeakable Egg, The”

Fiction. Written April 1924. The Saturday Eve¬
ning Post 197 (July 12, 1924), 12-13, 125-126,
129; The Price Was High.

Fifi Marsden breaks her engagement to George
Van Tyne on the eve of their wedding because
she thinks he is too perfect—more so than her¬
self. While visiting her aunts, Josephine and Cal
Marsden, at their home on the beach at Montauk

Point, Long Island, Fifi becomes interested in a
disheveled tramp named Mr. Hopkins, and her
aunts call in psychiatrist Roswell Gallup to treat
her. They discover that the tramp is really Van
Tyne, who wants to prove to Fifi that he can be
uncivilized, and that Fifi has known his true iden¬
tity all along.

CHARACTERS

Gallup, Doctor Roswell Psychiatrist who is
hired to treat Fifi Marsden.

Marsden, Cal Fifi Marsden’s aunt, who is dis¬
tressed by her interest in a tramp.

Marsden, Fifi Young woman who breaks and
renews her engagement to George Van Tyne.

Marsden, Josephine Fifi Marsden’s aunt, who is
distressed by her interest in a tramp.

Percy Josephine and Cal Marsden’s yard man.

Van Tyne, George Fifi Marsden’s fiance, who
dresses as a tramp after she rejects him for being
too perfect.

“Usual Thing by
Robert W. Shameless, The”

Prose parody. The Nassau Literary Magazine
72 (December 1916), 223-228; In His Own Time.
Unsigned—credited to Fitzgerald in the index to
volume 72.

Parody of the writings of novelist Robert W.
Chambers (1865-1933).

“Vanished Girl, The”

See “A Full Life.”

Vegetable, The: or from President to Postman 245

Vegetable, The: or from
President to Postman

Play. New York: Charles Scribner’s Sons, 1923.
Augmented edition with unpublished scenes and cor¬
rections, introduction by Charles Scribner III (New
York: Charles Scribner’s Sons, 1976). Dedication:
“TO KATHERINE TIGHE AND EDMUND WIL¬
SON, JR. WHO DELETED MANY ABSURDITIES
FROM MY FIRST TWO NOVELS I RECOM¬
MEND THE ABSURDITIES SET DOWN HERE.”

COMPOSITION

While waiting for the publication of his second
novel, The Beautiful and Damned, Fitzgerald wrote
to his agent, HAROLD OBER, “I am concieving a
play which is to make my fortune” (c. November/
December 1921; As Ever, p. 32). Originally titled
“Gabriel’s Trombone,” the published play was titled
The Vegetable, with a title page epigraph attributed
to “a current magazine”: “Any man who doesn’t want
to get on in the world, to make a million dollars, and
maybe even park his toothbrush in the White House,
hasn’t got as much to him as a good dog has — he’s
nothing more or less than a vegetable.”

On March 2, 1922, Fitzgerald sent the play to
Ober for circulation to producers, claiming that
“Acts I + III are probably the best pieces of dra¬
matic comedy written in English in the last 5 years”
(As Ever, p. 39). Ober was unable to find a pro¬
ducer, and Fitzgerald revised the play in the sum¬
mer of 1922. In October the Fitzgeralds moved to
Great Neck, New York, where Fitzgerald revised
the play for at least the third time. (He later
claimed it was revised six times.) Fitzgerald later
listed “Vegetable days in N. Y.” as a source for the
fourth chapter of The Great Gatsby.

PUBLICATION

Fitzgerald decided to publish the play as a book
in the hope that the exposure might result in a
stage production. In January 1923 he wrote to edi¬
tor Maxwell Perkins about publication plans, and
his advice for advertising illuminates the problem
with the play: “To be advertised, it seems to me

rather as a book of humor, like the Parody outline
of History or Seventeen than like a play—because
of course it is written to be read” (Scott/Max, p. 66).
The Vegetable was published on April 27, 1923 in a
printing of 7,650 copies at $1.50, with a dust jacket
illustrated by JOHN HELD, Jr. It was widely reviewed
but regarded as a minor effort, and there was only
one printing.

PRODUCTION

In the summer of 1923, Sam H. Harris (1872—
1941) agreed to produce the play, with Sam For¬
rest (1870-1944) directing and Ernest Truex
(1890-1973) taking the leading role of Jerry Frost.
Fitzgerald was involved in the rehearsals, and he
and Zelda Fitzgerald went with Ring and Ellis
Lardner to Atlantic City for the tryout. The play
began a one-week run at Nixon’s Apollo Theatre
on November 19, 1923; on the disastrous open¬
ing night, people walked out during the second-act
fantasy. Zelda wrote to Xandra KALMAN:

In brief, the show flopped as flat as one of
Aunt Jemimas famous pancakes. . . . The first
act went fine but Ernest says he has never had
an experience on the stage like the second. I
heard one woman hit the roof when the bible
was mentioned. They seemed to think it was
sacreligious or something. People were so obvi¬
ously bored! And it was all very well done,
so there was no use trying to fix it up. The
idea was what people didn’t like—Just hope¬
less! Scott suggested fixing it up by having
Ernests teeth fall out when he heard about
the Buzzard Islands, but I don’t think anybody
liked the suggestion except us—It is too ter¬
rible to contemplate. (PRINCETON UNIVERSITY
Library)

Fitzgerald tried to improve the play during the
Atlantic City tryout, but when its out-of-town try¬
out ended, it was dead. After this failure, which
left Fitzgerald in debt, he was no longer seriously
interested in writing for the stage, and although he
occasionally talked about writing another play, he
never progressed beyond outlines.

246 Vegetable, The: or from President to Postman

SYNOPSIS

Act I

Railroad clerk Jerry Frost tells his wife, Charlotte
Frost, that he was analyzed at work and that he
told the analyzer that he did not have any ambition
left, although when he was a boy he had wanted
to be a postman. When Charlotte mocks him, he
tells her he “had an ambition to be President of the
United States” (p. 16). They quarrel, but Charlotte
“knows that Jerry will always stay and slave for her”
(p. 17). Jerry asks his father, Dada, about the presi¬
dential convention. Charlotte’s sister, Doris, arrives
and announces that she is engaged again to a man
named Fish from Idaho. Bootlegger Snooks arrives
and mixes some gin for Jerry. Jerry has several drinks,
and he hears the noise of a cheering crowd outside.
Mr. Jones, a “well-known politician,” arrives and
informs Jerry that he has unanimously been given
the Republican nomination for president.

Act II

On their wedding reception day, Doris’s fiance,
Joseph Fish, senator from Idaho, arrives at the
White House with a telegram from the people of
Idaho demanding Jerry’s immediate resignation
as president because he made Dada Secretary of
the Treasury. Major General Pushing notifies Jerry
that he and two other generals have voted to have
a war against an enemy yet to be determined. The
Honorable Snooks, ambassador from Irish Poland,
offers to sell the Buzzard Islands to the United
States. Jerry agrees to buy the islands on the condi¬
tion that he can include Idaho as a gift, and they
settle on a price of $5 million. Doris tells Dada
he should resign, and Dada reveals that he has
destroyed all the money in the treasury in order
to save the country because of the biblical say¬
ing that “It’s easier for a camel to pass through
a needle’s eye than for a wealthy man to enter
heaven” (p. 95). Snooks agrees to forfeit the $5
million and make a straight swap of the Buzzard
Islands for Idaho. Chief Justice Fossile arrives to
begin impeachment proceedings, and Charlotte
tells Jerry, “Speak right up to them. Show them
you’re not just a vegetable” (p. 102). Jerry says that
a state has to be part of the country to impeach
anybody, and Idaho now belongs to Irish Poland.

General Pushing arrives and announces that the
enemy is Irish Poland, and Judge Fossile says that
all treaties are off. Fossile pronounces the sentence
of impeachment, and the Frosts leave the White
House.

Act III

Back at the Frosts’ house, a week after Act I, Doris
and Charlotte discuss the possible whereabouts of
Jerry, who disappeared the morning after Snooks sold
him the gin. Doris and Fish have been secretly mar¬
ried for three days. The new postman arrives with the
mail, and neither Doris nor Fish recognizes that he is

Jerry. Jerry tells them, “I’m new but I’m good-I’m

the best one they ever had” (p. 133). They tell him
that there is a woman in the house who really needs
the right letter. Jerry, his face partially concealed by
the hood of his rain cape, comes back later with a let¬
ter for Charlotte from himself, saying that he is doing
what he wants and is happy. Charlotte asks the post¬
man to find Jerry for her and says she will be proud of
him even if he is a postman; and he promises to try to
get Jerry there at six o’clock. Later, as she hears the
postman’s whistle approaching, she cries, “The best
postman in the world!” (p. 145).

FURTHER READING

Fitzgerald, F. Scott. F. Scott Fitzgerald Manuscripts VI:
Part 1: The Vegetable, edited by Matthew J. Bruc-
coli (New York; London: Garland, 1991).

CHARACTERS

Dada (Horatio Frost) Jerry Frost’s father, a
Civil War veteran whose mind is failing and who is
nearly blind and deaf. Jerry’s appointment of Dada
as Secretary of the Treasury is responsible for Idaho’s
demand that Jerry resign as president of the United
States.

detective Detective hired by Charlotte Frost to
find her missing husband, Jerry Frost. He locates
the wrong man.

Doris Charlotte Frost’s 19-year-old sister, who
is newly engaged to Joseph Fish from Idaho,
although she does not know much about him. In
Act III, Doris and Fish have been secretly married
for three days.

'What a Handsome Pair!" 247

Fish, Joseph Doris’s fiance. In Act II he is a sena¬
tor from Idaho and delivers a telegram demanding
Jerry Frost’s resignation as president of the United
States. In Act III he and Doris have been secretly
married for three days.

Fossile, Chief Justice Supreme Court justice
who pronounces the sentence of impeachment on
President Jerry Frost.

Frost, Charlotte Jerry Frost’s nagging wife, age
30, who rebukes him for his lack of ambition. “She
talks in a pessimistic whine and, with a sort of dowdy
egotism, considers herself generally in the right” (p. 11).

Frost, Jerry (Jeremiah) Thirty-five-year-old rail¬
road clerk whose childhood ambition was to be a
postman but who has no ambition left. In an alco¬
holic fantasy, he becomes president of the United
States until he is impeached for appointing his
father, Dada, Secretary of the Treasury. He briefly
leaves his nagging wife, Charlotte Frost, to become a
postman, which completely changes him and makes
him confident. He brags, “I’m new but I’m good.. ..
I’m the best one they ever had” (p. 133).

Jones, Mr. A “well-known politician” who informs
Jerry Frost that he has received the Republican
Party’s unanimous nomination for president of the
United States. He later serves as secretary to Presi¬
dent Frost.

Pushing, Mr. Jerry Frost’s employer, who fires
him after a week’s absence from his job as a railroad
clerk. In Act II he is Major-General Pushing, who
informs President Jerry Frost that he and two other
generals have voted to have a war. He tells Jerry
that the country needs a military man as a leader.

Snooks (Snukes) Bootlegger who sells gin to Jerry
Frost. In Act II he is ambassador to the United States
from Irish Poland and strikes up a deal to trade the
Buzzard Islands for Idaho.

Stutz-Mozart Italian leader of an orangutan
band which Doris hired to play jazz at her wedding
reception.

‘“Wait Till You Have
Children of Your Own!’”

Essay. Wo man’s Home Companion 51 (July 1924),
13, 105; In His Own Time.

Fitzgerald discusses how parents “want their
children not to follow blindly in their steps but
rather to profit by their mistakes” (In His Own
Time, p. 193). He says that he will teach his child
to be less provincial and patriotic, to know about
his body, to avoid overstimulation, to be suspicious
of authority, and to form his own convictions.

“Way of Purgation, The”

Verse. Poet Lore accepted this poem in September
1917 but did not publish it; this was Fitzgerald’s first
professional acceptance. Fitzgerald included the
poem, untitled, at the beginning of the final chapter
of This Side of Paradise (p. 273). It also appeared,
in slightly different form, in an August 1917 letter
to EDMUND Wilson which was published in The
Crack'Up (p. 249; Life in Letters, p. 12).

“What a Handsome Pair!”

Fiction. Written April 1932. The SATURDAY EVE¬
NING POST 205 (August 27, 1932), 16-17, 61, 63-
64; Bits of Paradise.

Helen Van Beck refuses to marry her cousin,
musician Teddy Van Beck, because they have noth¬
ing in common. She marries Stuart Oldhome, who
shares her interest in sports. But when he is com¬
pelled to take sports-related jobs to support them
while she continues to play for enjoyment, their
mutual interest turns to bitter rivalry. Teddy, who
still loves Helen, is nonetheless happy with his wife,
Betty Van Beck, who shares none of his interests.

The depiction of a couple tom apart by their
mutual interests in “What a Handsome Pair!” reflects
the tension in the Fitzgeralds’ marriage over the pub¬
lication of Zelda’s novel, Save Me the Waltz (1932).

248 "What Became of the Flappers?"

CHARACTERS

Myers, Gus Man who hires Stuart Oldhorne to
manage his racing stable.

Oldhorne, Stuart Sportsman whose marriage to
Helen Van Beck dissolves into rivalry.

Ruthven, Mrs. Cassius Woman who is critical of
Helen Van Beck.

Van Beck, Betty Teddy Van Beck’s wife, a for¬
mer waitress.

Van Beck, Helen (Mrs. Stuart Oldhorne) Ath¬
letic young woman whose marriage to Stuart Old¬
horne dissolves into rivalry.

Van Beck, Theodore (Teddy) Musician who is
in love with his cousin, Helen Van Beck.

“What Became of the
Flappers?”

Article by Zelda Fitzgerald. McCall’s 53 (Octo¬
ber 1925), 12,30, 66; Zelda Fitzgerald: The Collected
Writings. Published with F. Scott Fitzgerald’s “Our
Young Rich Boys” under the joint title of “What
Becomes of Our Flappers and Sheiks?”

Notes that the flapper “is growing old” and
has “come to none of the predicted ‘bad ends,’
but has gone at last, where all good flappers go—
into the young married set, into boredom and
gathering conventions and the pleasure of hav¬
ing children, having lent a while a splendor and
courageousness and brightness to life” ( Collected
Writings, p. 399).

“What Becomes of Our
Flappers and Sheiks?”

See “What Became of the Flappers?” and “Our
Young Rich Boys.”

“What I Think and Feel at
Twenty-Five”

Autobiographical article. The American Magazine
94 (September 1922), 16, 17, 136-140; In His Own

Fitzgerald asserts that a man’s vulnerability
increases as he grows older because he can be hurt
through attacks on his wife and children. He recalls
that in preparatory school and in the ARMY he was
overly concerned with what other people thought
about him until he learned that “nobody knows
half as much about your own interests as you know”
(In His Own Time, p. 219). He complains that he
dislikes old people because they always talk about
their experience when they seldom have any, and
he notes that “as old people run the world, an enor¬
mous camouflage has been built up to hide the fact
that only young people are attractive or important”

(p. 222).

“What I Was Advised to
Do—And Didn’t”

Autobiographical note. Philadelphia Public Ledger,
April 22, 1922, p. 11; In His Own Time.

Fitzgerald’s account of rejecting the advice
of someone at the advertising agency where he
worked to “give up writing and stay at your job” (In
His Own Time, p. 166).

“What Kind of Husbands Do
‘Jimmies’ Make?”

Article. Baltimore American, March 30, 1924, p.
ME-7; In His Own Time.

Fitzgerald deplores the lack of responsibility
on the part of the rich and the resulting waste
of opportunity: “Here we come to something that
sets the American ‘leisure class’ off from the leisure

'Winter Dreams" 249

class of all other nations—and makes it probably
the most shallow, most hollow, most pernicious lei¬
sure class in the world. It has frequently no con¬
sciousness that leisure is a privilege, not a right,
and that a privilege always implies a responsibility”
(In His Own Time, p. 188).

“Who Can Fall in Love After
Thirty?”

Article by Zelda Fitzgerald. College Humor 15
(October 1928), 9, 92; Zelda Fitzgerald: The Col¬
lected Writings. Bylined “F. Scott and Zelda Fitzger¬
ald” but credited to Zelda in Ledger.

Discussion of the differences between men who
have never been romantic and those who have “the
habit of being in love” (Collected Writings, p. 411).

“Who’s Who—and Why”

Autobiographical essay. The SATURDAY EVENING
Post 193 (September 18, 1920), 42, 61; Afternoon
of an Author.

Fitzgerald characterizes his life as a “struggle
between an overwhelming urge to write and a
combination of circumstances bent on keeping me
from it” (AOAA, p. 83). He describes the composi¬
tion and publication of This Side of Paradise, which
he calls “a somewhat edited history of me and my
imagination” (p. 84).

“‘Why Blame It on the Poor
Kiss if the Girl Veteran of
Many Petting Parties Is Prone
to Affairs After Marriage?’”

Article. New York American, February 24, 1924, p.
LII-3; In His Own Time.

Fitzgerald asserts that marital unfaithfulness is
much more widespread than commonly believed and

suggests that two primary obstacles to monogamy are
“a great disparity in age and a surrounding atmo¬
sphere of excessive alcoholic stimulation—two factors
which occur chiefly among the well-to-do classes” (In
His Own Time, p. 182). He argues that the “veteran
of many petting parties” is prone to affairs not from
experience but because of temperament.

Winter Carnival

United Artists, 1939

In early 1939 Fitzgerald’s HOLLYWOOD agent,
H. N. Swanson, found him an assignment for
$1,250 a week collaborating with Budd SCHULBERG
on Winter Carnival, which WALTER WANGER was
producing for United Artists. Schulberg’s story fea¬
tured a young woman fleeing to Canada with her
child, whom she will lose if her husband catches
her before she crosses the border; she is delayed at
the Dartmouth winter carnival.

Fitzgerald, Schulberg, and Wanger traveled to
Dartmouth on February 10-12 to get fresh ideas.
Fitzgerald and Schulberg got drunk during the
trip, and Wanger fired both writers and ordered
them out of town. They went to New York, where
Schulberg and Sheilah Graham got Fitzgerald
admitted to Doctors Hospital with a fever of 103.8
and an upper respiratory infection. Wanger rehired
Schulberg back in California, and Schulberg and
Lester Cole (1904-85) shared credit for the screen¬
play. The movie was directed by Charles Riesner
(1887-1962) and starred Ann Sheridan (1915-67).
Schulberg’s 1950 novel The Disenchanted is based
largely on his trip to Dartmouth with Fitzgerald.

See John D. Hess, “Wanger Blends Abruptness
with Charm in Personality,” The Dartmouth (Feb¬
ruary 11, 1939), 2, 13; Fitzgerald/Hemingway
Annual (1979), pp. 35-36.

“Winter Dreams”

Fiction. Written September 1922. Metropolitan
Magazine 56 (December 1922), 11-15, 98, 100-
102, 104-107; All the Sad Young Men.

250 "Winter Dreams'

Young Dexter Green quits his caddy job at Black
Bear Lake after encountering Judy Jones, a wealthy,
imperious 11 year old. Several years later he attends
a famous university in the East and prospers in the
laundry business. While visiting the golf club where
he used to caddy, he again encounters Judy, who
invites him to dinner the next night. Their rela¬
tionship develops, and he asks her to marry him,
but she continues to be interested in other men.
Dexter becomes engaged to Irene Scheerer but
abandons her when Judy again shows interest in
him. Judy breaks their own engagement after one
month. Seven years later Dexter, who has moved
to New York, hears that Judy is unhappily married
and that her beauty has faded. Crushed by the loss
of his dream of Judy, he grieves that he is no longer
able to care.

CRITICAL COMMENTARY

“Winter Dreams” is closely linked to The Great
Gatsby: Fitzgerald described it to Maxwell Perkins
as “a sort of 1st draft of the Gatsby idea” (June 1,
1925; Life in Letters, p. 121; Scott/Max, p. 112), and
he lifted Dexter’s response to Judy’s house from
the magazine text of the story and wrote it into
the novel as Jay Gatsby’s reaction to Daisy Fay’s
[Buchanan’s] house.

Like so much of Fitzgerald’s work, includ¬
ing GG, “Winter Dreams” explores the story of a
romantic, ambitious young man whose dreams are
intertwined with a beautiful woman who symbol¬
izes the world to which he aspires. The story opens
with a classification of Dexter’s financial status: He
is not as poor as some of the caddies who live in
one-room houses, nor is he one of the wealthy; his
father owns the second-best grocery store in town,
and he caddies only for pocket money. Dexter’s
ambitions are quickly made apparent in his imagi¬
nary golf championships and his tendency to “make
brisk abrupt gestures of command to imaginary
audiences and armies” (p. 218). The girl is intro¬
duced early as well. At the mere age of 11, Judy
Jones condescends to Dexter, then about age 14,
and he quits his caddy job because he is “uncon¬
sciously dictated to by his winter dreams” (p. 220).
Fitzgerald lays all of this groundwork in the first of
six sections.

Section 2 begins with an account of Dexter’s
success and an explication of his dreams. He passes
up a business course at the state university for a
more prestigious school in the East. Fitzgerald
inserts a characteristic authorial comment to clarify
that Dexter’s dreams are not limited to money and
that he is not snobbish. “He wanted not associa¬
tion with glittering things and glittering people—
he wanted the glittering things themselves” (pp.
220-221). He instinctively reaches for the best,
sometimes without knowing why.

Dexter achieves financial success by buying a
partnership in a laundry and catering to the golf
trade. Significantly, his second encounter with Judy
Jones occurs on the golf course, where he is now
playing in a foursome with men for whom he used
to caddy. He feels a “tremendous superiority” (p.
221) toward one of the men whom he had once
dreamed of defeating, and he studies the caddies as
he contemplates the gap between his present and
his past. Dexter sees Judy briefly on the golf course;
later that evening she asks him to drive her motor-
boat and, on a whim, invites him to dinner the next
evening, giving “a new direction to his life” for the
second time (p. 224).

The brief section 3 identifies Dexter’s careful
attention to dress and manners to compensate
for his Bohemian mother. Dexter and Judy dine
together, and she tells him how upset she had been
that afternoon to discover that a man she cared
about was poor. She quizzes Dexter about who he is
and whether he is poor, and upon learning that he
is probably making more money than his age-mates
in the Northwest, she smiles and kisses him with
“kisses that were not a promise but a fulfillment”

(p. 226).

Section 4 relates Dexter’s bouncing from Judy
to Irene and back to Judy. Dexter becomes one of
a dozen men who flock about Judy, and he shifts
from exhilaration to restlessness and dissatisfaction.
“The helpless ecstasy of losing himself in her was
opiate rather than tonic” (p. 227). He asks her to
marry him, but she remains noncommittal. As his
business success grows, he finds himself “increas¬
ingly in a position to do as he wished” (p. 228),
but what he wishes for is to return to New York

'Winter Dreams" 251

and to take Judy with him. He devotes himself to
her for 18 months before realizing that he cannot
have her—that that part of his winter dreams must
remain unfulfilled.

A few months later he settles for an engage¬
ment to Irene Scheerer, a “sturdily popular” girl
whose companionship gives him “a sense of solid¬
ity” (p. 230) although she lacks Judy’s fire, loveli¬
ness, magic, and wonder. Yet the dream of Judy
never dies, for as soon as he hears her voice again,
he is filled with excitement. When she confi¬
dently says she wants to marry him, he feels only
a momentary twinge of shame about Irene. “I’ll
be so beautiful for you, Dexter,” Judy offers (p.
232). He struggles briefly with anger, pride, pas¬
sion, hatred, and tenderness and then quickly suc¬
cumbs. “A perfect wave of emotion washed over
him, carrying off with it a sediment of wisdom,
of convention, of doubt of honor. This was his
girl who was speaking, his own, his beautiful, his
pride” (p. 232). The phrase his pride reinforces
Judy’s role as a symbol of his dreams of a glittering
world of success.

The four-paragraph Section V quickly recounts
that Judy ends her engagement to Dexter after only a
month, and he painfully realizes for the second time,
“He loved her, and he would love her until the day he
was too old for loving—but he could not have her”
(p. 233). He joins the armed forces and welcomes the
war as a relief from complicated emotions.

In Section VI, seven years later, Dexter learns that
Judy is unhappily married. He is shocked when a busi¬
ness acquaintance describes her as merely pretty and
nice. His complex, intense reaction—much stron¬
ger than his reaction to actually losing Judy—further
solidifies her symbolic importance in his life.

Like GG, “Winter Dreams” ends with a coda
that recapitulates and expands the meanings of the
story. Although Dexter “had thought that having
nothing else to lose he was invulnerable at last”
(p. 235), the news of Judy’s faded beauty makes
him realize, with panic, that he has lost something
more: “The dream was gone. Something had been
taken from him” (p. 235). He reflects on the muta¬
bility of her beauty, recalling their time together,
her kisses, and her freshness: “Why, these things

were no longer in the world! They had existed and
they existed no longer” (p. 235).

Dexter grieves for the loss of Judy and what she
stands for but also for the loss of his own capacity
for emotion: “He wanted to care, and he could not
care” (p. 235). Yet he does care, very much. He is
not merely numb; rather he is reacting profoundly
to his sense of losing the ability to feel, much as
in The Crack-Up Fitzgerald eloquently blamed the
loss of his emotions for his difficulty in writing as
he used to.

The coda concludes with a characteristic
Fitzgerald lament for the loss of youth and all it
represents:

Even the grief he could have borne was left
behind in the country of illusion, of youth, of
the richness of life, where his winter dreams
had flourished.

“Long ago,” he said, “long ago, there was
something in me, but now that thing is gone.
Now that thing is gone, that thing is gone. I
cannot cry. I cannot care. That thing will come
back no more.” (pp. 235-236)

CHARACTERS

Devlin Man who tells Dexter Green that Judy
Jones is unhappily married and that her beauty has
faded.

Green, Dexter Ambitious young man whose
dreams of success are intertwined with his love for
wealthy, selfish Judy Jones. Green is a preliminary
treatment of Jay Gatsby, with whom he shares a
love for a beautiful but inconstant rich girl and the
loss of his illusions.

Hart, Mr. Man who gives 23-year-old Dexter
Green a guest card to a private golf club and plays
in a foursome with him. Dexter had once caddied
for him.

Hedrick, T. A. Golfer whom young Dexter Green
dreams of defeating. When he and Dexter play in a
foursome together years later, Dexter feels supe¬
rior to him. Hedrick is hit in the stomach by Judy
Jones’s golf ball.

252 "Woman from Twenty-One, The'

Hilda Eleven-year-old Judy Jones’s nurse, who
accompanies her to the golf course.

Jones, Judy Selfish, wealthy girl who is “des¬
tined” to “bring no end of misery to a great number
of men” (p. 218) and with whom Dexter Green
falls in love.

Jones, Mortimer Judy Jones’s father, who tries to
persuade Dexter Green not to quit his caddy job.

Sandwood, Mr. One of the foursome with whom
Dexter Green plays golf.

Scheerer, Irene Dexter Green’s fiancee, whom
he abandons when Judy Jones again shows interest
in him.

Scheerer, Mrs. Irene Scheerer’s mother.

Simms, Lud Judy Jones’s husband, who drinks
and runs around.

FURTHER READING

Quotations are from The Short Stories of F. Scott
Fitzgerald, edited by Matthew J. Bruccoli (New
York: Scribner, 1989).

Burhans, Clinton S., Jr. ‘“Magnificently Attuned to
Life’: The Value of ‘Winter Dreams. Studies in
Short Fiction 6 (Summer 1969), 401-412.

Daniels, Thomas E. “The Texts of ‘Winter Dreams,”’
Fitzgerald/Hemingway Annual 9 (1977), 77-100.
Martin, Quentin E. “Tamed or Idealized: Judy Jones’s
Dilemma in ‘Winter Dreams.”’ In F. Scott Fitzgerald:
New Perspectives, edited by Jackson R. Bryer, Alan
Margolies, and Ruth Prigozy (Athens: University
of Georgia Press, 2000), 159-172.

“Woman from Twenty-One,
The”

Fiction. ESQUIRE 15 (June 1941), 29, 164; The Price
Was High.

While watching a play, Raymond Torrence is
offended by the loud conversation of the woman
from Twenty-One, who is sitting next to him and
who keeps suggesting that her party return to
Twenty-One, an expensive restaurant-bar in New
York City. When he sees her face, he recognizes
her as a girl with whom he had played in Pitts¬
burgh 20 years before. Because of the encounter,
he decides to return to Java, the home of his wife,
Elizabe

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Texts

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "Teaching Learning Strategies For The Thinking Classroom"

See other formats